If you've read this blog at all, you know that I am a fan of the western film genre. One of the things I really enjoy about it is that it is a set of archetypes that can be laid over just about any other genre. One of the most successful pairings has been what I call the "Space Western."
The Space Western maintains the character archetypes and themes of the classic western, but trades the windy plains of America for the wild alien frontiers of space. The inherent danger of being stuck in an environment that will kill you (lack of oxygen, alien biomes, radiation, etc.) enhances the western genre's great themes about survival and the struggle of morality in a lawless place.
Enter Prospect (2018).
Prospect is a film written and directed by Christopher Caldwell and Zeek Earl (Earl also handled cinematography duties). It is the story of a father-daughter duo who make planetfall on a frontier moon where they hope to harvest some valuable gems. Those gems being their ticket out of debt and a life in the farther reaches of the universe. Complications, of course, arise.
It is a Space Western that made waves on the indie circuit when it was released. And it has finally landed on Netflix.
Retro Sci Fi Flair
Two of the film's great strengths are its production design (by Matt Acosta) and costume design (by Aidan Vitti). The pod that Damon (Jay Duplass) and Cee (Sophie Thatcher) live in is aged and faded, with grime around the corners. The aesthetic matches classic 80s sci fi: there are switches everywhere, retro-looking fonts, and old school monitor screens. It all feels like a world that was once new, but forgot to update itself. Or, rather, it speaks of a certain kind of corporate exploitation where, even in the miracle of space travel, there are CEOs who will cut corners and cost-save at the expense of the people hurtling through the stars. I'm sure they could get new gear, if they wanted. If they could afford it. The fact that Damon is locked into servitude to pay off his debt suggests that sentiment is as much a fantasy as his daughter's obsession with a melodramatic radio drama. She listens to the broadcasts and transcribes them into her journal. The world of Prospect is detailed and specific: there is a language that is not English, there are branded bits of gear, and enough specific little nick-knacks in the background to keep a curious viewer busy for the film's runtime. The film doesn't bother to explain any of this, either. It just drops you in the middle of the world and assumes you'll become immersed in it. I like that a lot.
Vitti's costumes are detailed and communicate character as well as the actors that wear them. Damon and Cee's space suits are sleek, corporate ensembles that are, like their pod, years out of date, but well-maintained. Their suits are white plastic and blue and black cloth. They stick out like sore thumbs on the moon's surface.
Ezra (Pedro Pascal), our film's anti-hero, however wears a space suit that is clearly the bargain equivalent. He doesn't have a helmet so much as a leather bag with a glass face-shield. His suit features straps and tubes and blocky gadgets that suggest he has hodge-podged his suit together over time. His suit is also brown, which grounds him, and camouflages him against the moon's verdant forest.
The filmmakers knew this world top to bottom, and it shows in the design elements and the western-tinged dialogue. It's a world that demands further exploration. Perhaps more movies set there. I haven't been this compelled by a sci-fi setting since Fire Fly (2002).
Strong Performances
Pedro Pascal is a treasure. His turn as moon-bound marauder Ezra is excellent. He slips into Caldwell and Earl's dialogue and wears it like a glove. He sells a man who isn't inherently evil: he's just done what he's had to in order to survive. Whatever he's had to. He makes no excuses. Pascal has a few monologues where he is able to shine, and he is electric.
Newcomer Sophie Thatcher is also a revelation. She handles Cee's arc with a natural quality and commitment. She ends up delivering us a kind of space-age Mattie Ross. I am excited to see where her career goes from here.
Stunning Visuals
The film makes excellent use of its budget, and manages to look more expensive and beautiful than it has any right to. The moon's surface is afflicted with a kind of airborne dust that is toxic to any who breathe it. The effect of white particles drifting in and out of every frame really sells how alien and dangerous this place is. And there are times where Earl lets his camera show you how lush and beautiful the forest is, with little pops of planets in the distant sky. The production holds its CG budget to its chest, deploying it with precision, and relying on practical effects throughout wherever feasible. What results is a film that looks gorgeous, and is a joy to simply look at.
Should You Watch It?
Yeah. You should. At 100 minutes, it won't waste your time. It sports some sumptuous visuals, some crackerjack performances, and exquisite world-building. If you're a fan of sci-fi, consider it a fun, capable addition to canon.
Odds and Ends
- The exteriors were shot on location in Washington state.
- Those poisonous motes in the air? Those are a practical effect. The team threw basement dust into the air, filmed it, and overlaid it over the finished movie.
- The film is based on a 15 minute short film that Caldwell and Earl made in 2014.
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