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This is a type of apocalyptic storytelling that is so beautiful. It doesn't hinge on false futurisms or morality - it is based on the sorrows that define our lives when we lose all hope. A slow burn that is so worth the indulgence.

On one level this movie is a success. It's an engaging, non-commercial Sci-fi film that is well acted, directed and produced. It held my attention and made me want to find out the fate of the ship and crew.

I knew nothing of the poem. I knew nothing other than what the trailer contained. It is incredibly difficult to adapt a poem which is tied more than any other literary form to the word, into a mostly visual medium. Since the screenwriter seemed to jettison the words of the poem what we are left with is an outline. That's where some problems begin. The poem was written in 1956, when space travel hadn't even started. So, it's pretty lame when a space ship the size of the Aniara doesn't have redundant power and a number of backup plans for when/if things go wrong. But hey, we're already in outer space, disbelief is suspended, so, shut the hell up. There's a bunch character driven scenes but none of character ever develop. The really all stay the same no matter what they've been through. Also Instead of a fully developed story we get inundated with a series of let downs which really come off as more of a drag than tragic. I mean would it really be that bad to be traveling through space? The filmmakers certainly seem sure it is. There's some poignant moments throughout, to be sure. The problem is it's all for a movie that just peters out. What may have had great resonance on the page doesn't make it through the translation to screen.

I think if they had stronger conclusion to what happens to the main character at the end the movie would've worked better. That way the ultimate ending would've become a post script. That didn't happen, so we're left with a movie that just stops on some sort of note about 'the vastness of space'.

All this makes 'Aniara' unsatisfying even though it's well done on many levels.

The name Aniara comes from the ancient Greek for "sad and despairing" and it lives up to the title. I haven't read the poem that it is based on, but it is a really solid sci-fi. The acting is good throughout, and I never felt that I was watching a low budget movie. This is a perfect example of what independent films should be.

'Aniara', the film made in 2018 by the Swedes Pella Kagerman and Hugo Lilja has the ambition of being a cosmic saga of proportions, a film in which a lot of talent, energy and hopes have been invested. The action takes place entirely on a spaceship, but not the exploration of space concerned the two authors (screenwriters and directors) of the film. Even though quite a lot has been invested in building a spaceship model that competes with similar ones in American movies, and even if the sets and props manage to create an interesting imaginary world, it is clear that the authors' attention has focused on the fate of some of the heroes and on the way they face an extreme situation, in which plans for the future are canceled or at best postponed, and the present becomes an infinite journey through a deserted space. 'Aniara' is at the same time a saga but also a story about people's reactions and the evolution of their relationships in extreme conditions.

The story of the film takes place in the near and foreseeable future in which the Earth has become either too small or uninhabitable for mankind, and a part of the population colonizes the planet Mars. Space ship Aniara is a kind of a Titanic of those times, a huge luxury space carrier, with all the comfort necessary for the three months of travel. The main heroine of the film, Mimaroben (or MR - Emelie Garbers) is the operator of a cyber salon (I am looking for a suitable term) called MIMA that combines virtual reality with artificial intelligence to offer passengers personalised experiences reminiscent of the natural ambience of the lost earthly paradise. The journey is suddenly disrupted by an incident caused by 'cosmic garbage' in which the huge space shuttle loses its ability to control the trajectory. Passengers are told that instead of three months the journey will take two years, but in fact this information is also inaccurate, because in reality the spacecraft is simply drifting in the infinite cosmic ocean. Thousands of passengers and crew members only gradually find out the truth and realize that their journey may take an eternity. The social environment that combines tourist efficiency with Scandinavian civilisation is gradually falling apart. MIMA transforms from escapist entertainment into a hallucinatory drug and object of worship. How long will the machines last? How long will people last? What happens to our civilisation when it is removed forever from the environment in which we were born?

What I liked. The film raises many interesting issues and opens up discussions worth undertaking. Emelie Garbers assumes excellently the lead role, with twists and turns of destiny that combine the collective experience with the personal one. The narrative construction is solid, even if the outcome is somewhat predictable. The sets of the impressing 'cosmic mall' traveling through space and degrading as hopes are shattered, civilisation disintegrates and violence, despair and superstition take over the survivors are presented gradually and interestingly. What I liked less. With the exception of MR, the rest of the characters are either schematically constructed (the captain of the expedition played by Arvin Kananian) or insufficiently psychologically justified (the heroine's partner - Bianca Cruzeiro). There is also a poetic thread (the film is based on a poem by a famous Swedish poet) that is lost, and the metaphor of the MIMA system (perhaps inspired by Stanislaw Lem and Tarkovsky's 'Solaris') fails to convince.

'Aniara' is an ambitious project that offers a space saga different from action movies, with less special effects and more ideas and directions for thougt and discussion. The heroes of the film are not space explorers but passengers, ordinary people like us, suddenly faced with the problems of existence and survival. Even if the execution is not perfect, even if many of the action threads are suddenly interrupted or lead nowhere, it is an interesting film for science fiction fans and not only for them.

This is based on a much-loved poem in Swedish written in 1956 (when my school debating club seriously considered "That man will never reach the moon"). Bear that in mind and much makes sense - more sense than the poem ever did to me when I first tried to read it. Much that purports to be science is just poetry. The film-makers have made some attempt to update the plot and the setting, bearing in mind that we have all seen 2001: a Space Odyssey..

The science is still cheesy. The ship has lost all its fuel, but power is uninterrupted and water is abundant (there is not only an extended lesbian shower scene, but a 20m swimming pool!). The architecture of the ship is absurdly angular, but nothing ever springs a leak. The ship's interior has been compared to a shopping mall and a cruise ship, but manufactured goods never show any sign of running out, and the whole thing seems absurdly understaffed.

It's basically an exploration of how an isolated group of people copes when it is cut off from Earth, its memories and hope. The main characters are sufficiently well drawn to explore these themes in, for me, a satisfying way. On those terms, it does well and is worth watching, though you must fill the hints in the chapter headings with your own deductions.

Following the destruction of the earth , the spaceship Aniara transports thousands to their new home on Mars. Hit by space debris it is knocked off course and unable to resume its journey so must drift in space indefinitely requiring passengers to reconsider their lives.

Despite the lack of a Hollywood budget, you really do buy into this epic sci fi piece which is seen largely through the eyes of one woman who must over the course of the voyage take on many different responsibilities both professionally and personally. The effects are fine and the storyline which essentially tracks how life is redeveloped is realistically communicated and totally believable. A small gem for sci fi lovers to seek out.

I had... great expectations. The poem made a profound impression on me as a young boy when I read it the first time at around 12 or 13 years of age. The vision of the ship with its hapless passengers drifting endlessly across the infinite void, unable to change their ultimate destiny, descending into inevitable darkness struck a chord that still reverberates within me decades later.

Unfortunately the directors lost the ball. Instead of a much anticipated visual retelling of the epic poem we get bad acting and strange decisions on the cutting board. It seems to me the problem with the actors is that they seem to have been recruited more or less directly from the theatre, obviously a forum they are more comfortable with. The dialog is presented in a strange intonation making it stilted and unnatural. It feels false, recited rather than truly experienced. Neither are the characters given much room to become people in the eyes of the audience. Mostly they lack depth and feel more like paper cutouts, hastily put in place and given a token smear of storyline just enough to separate them from the others, rather than as real living people. Transitions between scenes ar... BLAM STOP BLACK SCREEN almost in the middle of a sentence and then a written text proclaiming the next chapter. So strange. So unnatural. So disruptive.

Yes, the movie had a limited budget which explains some of the shortcuts that had to be taken, but... 20 million actually is quite substantial sum as the story doesn't need much in the way of special effects or expensive sets, not really. The focus on the poem is not on the surroundings or the interior of the ship, but on the interactions between the people on board. No, lesbochock nudity and explicit orgies does not cover the vast rifts in the storytelling, though predicibly the attempt was made. The end result isn't bad, not really. It's worse, it's meh. Meh meh meh.

No, I am not a script writer, nor a director, in fact I have no experience with film making but... this could have been done better. So much better. So disappointed.

The transitory nature of human existence, especially when set against the infinity of space and time, has been the inspiration for countless science-fiction narratives. A theme which has only become more relevant as the years go by and we find ourselves in the midst of an increasingly certain man-made extinction event, a fine example is Harry Martinson's poem, Aniara: en revy om människan i tid och rum [trans. Aniara: fragments of time and space] (1956), which is about the crippling contemplation of meaninglessness that consumes the passengers of a vast spaceship (the eponymous Aniara) set adrift in the void of space. An adaptation of the poem, this exceptionally well made film is the debut feature from writers/directors Pella Kagerman and Hugo Lilja, and is in the tradition of such esoteric texts as 2001: L'odyssée de l'espace (1968), Solaris (1972), Les derniers rayons de soleil (2007), and Une vie en hauteur (2018). And yes, the characters are a little underdeveloped, with only a couple getting much of an arc, and yes, the science isn't exactly kosher, but irrespective of that, this is a provocative, morally complex, and existentially challenging film that I thoroughly enjoyed.

Set at an unspecified point in the future, Earth has reached a point of irreversible decay, and humanity is making a new home on Mars. The Aniara is a massive vessel that takes passengers on the three-week trip from a lunar docking station to the red planet. As the film begins, we meet the unnamed protagonist (Emelie Garbers). An employee on the Aniara, she is in charge of MIMA, (hence her job as a Mimarobe, or MR for short), a semi-sentient holodeck-like technology, that can scan people's thoughts, and allow them to experience whatever is best suited for their psyche (for example, we see MR exploring a vibrant forest). A week into the voyage, however, Captain Chefone (Arvin Kananian) is forced to jettison the vessel's nuclear core to avoid catastrophy after a minor collision with space debris. However, the ship is now off-course, and without the core, the crew have no way of turning her around, leaving them drifting into the darkness of space. And so, as months turn into years, with no hope of rescue, and as people find themselves unable to face reality, MIMA becomes essential for their mental well-being. However, MIMA wasn't designed to be exposed to so many negative emotions for such a prolonged time, and soon she starts to show signs of failing.

As mentioned, Aniara was written in 1956 by Swedish Nobel laureate Harry Martinson (the title is derived from the Ancient Greek word meaning "despairing"). The poem is more allegorical than the film, and was written, at least in part, as a reaction to the bombing of Hiroshima and Nagasaki, the developing Cold War, Walter Baade's doubling of the estimated distance from the Milky Way to Andromeda in 1953, and Soviet suppression of the 1956 Hungarian revolution. The film is divided into nine chapters, which mark the passage of time. So, for example, the first three chapters are "Hour 1: Routine Voyage", "Week 3: Without a Map" and "Year 3: The Yurg". The titles of some of the later chapters contain pseudo-spoilers, so I won't mention them here, but when the title of the last chapter appeared on screen, I was so sure I'd misread it that I had to ask my friend for confirmation. Turned out I'd read it just fine; this last title contains all the existential dread and mind-bending contemplation of infinity that you could ever want. And it's an absolutely haunting way to end the film.

Much as is the case with the poem, the film looks at issues such as the possibility that we have already irreparably damaged the planet, the impermanence of human existence, and the sense of meaninglessness that can result when mankind is faced with the eternity of time and space. In relation to this, the film spends a good deal of time on the idea that human civilisation is essentially a construct that we use to shield us from the bleak reality that we are utterly insignificant, and when that construct is removed, we revert to barbarism. So, basically your typical multiplex stuff. The passengers on the Aniara become increasingly unable to stave off the encroaching malaise born from the hopelessness of their situation and the meaninglessness of their existence, and one of the most important lines in the film is when MR is told "everything we do is peripheral". Uplifting stuff.

One of the film's most interesting themes concerns MIMA, which is depicted as half-mind control, half-narcotic. As she becomes more important post-collision, it doesn't take long for people to become dependent on her, with large queues forming, and people at the back trying to bribe MR to get in early. Then, when MR hires another employee, she explains that she'll need to "teach them to resist the images", recalling the way people who work in pharmaceutical factories are randomly drug-tested. That's the narcotic element. At the same time, when a passenger proves unable to handle reality and becomes violent, he is forced to experience MIMA against his will and is rendered unconscious. That's the mind-control element. However, MIMA is also semi-sentient, and she soon proves reluctant to continue processing the never-ending onrush of negative emotions, with the passengers' sense of pointlessness and despair becoming overwhelming, to the point that she tells MR, in a surprisingly moving scene, "I want peace". HAL 9000 she is not; he'd have been able to suck it up.

Another theme, of course, is mankind's destruction of Earth. Whereas once, science fiction narratives focused on nuclear warfare as humanity's probable extinction event, in recent times, global warming and ecological disaster have become far more pervasive. Indeed, Martinson himself was something of a pioneer in this field, positing that we were destroying the planet long before climate change had entered the zeitgeist. In relation to this, the possibility that we may colonise other worlds is now seen not as something to facilitate exploration, but to facilitate survival. Of course, this is rendered all the more terrifying because it's not something only found in the realm of fiction - the planet is dying. But when you have a US president who ignores the scientific evidence of his own people, routinely rolls back environmental protections, and continually confuses weather and climate, the possibility of our changing course seems remote, just like the Aniara. This theme is never examined explicitly - we never learn the year in which the film is set, whether or not Earth has already died and is entirely uninhabitable or is simply on the way, nor what exactly it was that sent us into the cosmos - but it's touched on obliquely throughout and is a good example of how the film subtly engages with themes without necessarily foregrounding them.

Moving away from thematic concerns, the film's aesthetic is absolutely gorgeous. Made with a relatively small budget, the CGI is basic but highly effective. For the Aniara interiors, rather than building elaborate original sets, much of the film was shot in shopping malls and on ferries, which makes sense, as the Aniara is essentially a giant shopping mall/hotel, not unlike a luxury cruise ship. For the sets that were built from scratch, they are matched seamlessly to the location work, with the sleek minimalist post-modern (one might even say Ikea-like) style of Linnéa Pettersson and Maja-Stina Åsberg's production design working well to suggest rigid functionality.

In terms of problems, perhaps the most significant is the lack of character arcs (although this is also true of the poem). This is felt most in the lack of disparate viewpoints on the Aniara where it would have been interesting to meet characters with distinct beliefs, backgrounds, and denominations (although, having said that, the poem has no such characters). Does this leave the viewer with little with which to engage and no characters with whom to empathise? Yes, to a certain extent it does, but this is by design; the film isn't asking us to fall in love with a cast of well-rounded characters, it's asking us to engage with it at an esoteric level.

I will concede, however, that the science has some issues. Why, for example, would a ship the size of the Aniara be used as a short-distance transport vessel? It's mentioned several times that she wasn't built for long-term habitation, but if so, why are there so many amenities on board, why is the life-support system self-regulating, why are the algae farms designed to produce food indefinitely? And the practical nature of her size (4,750 meters long and 891 meters wide) throws up its own problems. Mars is (on average) 140 million miles from Earth, so for the Aniara to complete the journey in three weeks, she would need to travel at an average velocity of 277,777 miles per hour. Newton's second law of motion states that "force equals mass times acceleration"; in short, the greater the mass and the greater the speed, the more force it takes to slow down, and the power needed to slow something this big moving at such a speed is virtually unfathomable.

Nevertheless, the surrounding film is so accomplished, I can easily forgive the scientific inconsistencies. As aesthetically impressive as it is morally complex, as esoterically fascinating as it is unrelentingly despairing, this is a hugely impressive debut film. Equal parts haunting and provocative, the picture it paints of a humanity faced with its own extinction isn't a pretty one, but it is an urgent one, as we hurtle towards our own extinction, rapidly approaching the point where, like the Aniara, we will no longer have the capacity to turn around. And when we reach that point, our collective future will consist of nothing but the indifferent darkness and deafening silence of the infinite.

I don't consider this a spoiler - especially if you're in the reviews section, you already know this is very very loose sci-fi. You have 3 weeks Earth to Mars journey, you have artificial gravity at all times... except the exact moment when there's actual gravity and the film shows zero gravity instead. But if you're like me, you know not all sci-fi is hard, sometimes you can have a movie with engine sound in space (this one has that, even though the whole premise is that the ship has no engines running, take that, Star Wars!).

So that's all acceptable. Sci-fi doesn't need to be about physics. I did ask myself how come a ship with full power, working telescopes and radiotelescopes (we even see antennas turning to point at objects, everything works) couldn't establish communication with Earth or Mars bases. BUT! The only reason why I was even allowed time to ask myself this was because there was nothing else to take my mind off it.

You see, the movie is about being stranded in space. I'm a sci-fi fan, I enjoy books and movies that include stuff that's completely anti-science, but is used as background to a good story.

Problem is, this has no good story. Premise is good, many things are omitted that should happen, but again - should be no problem, as long as the omissions lead to showing something else.

Except nothing leads to anything. Whole movie is built around stuff that can't happen even in the movie's fictional universe (explained above), but even there, people do stuff they wouldn't actually do. There's some promise in second act, I was really enjoying those things (again - no spoilers), but nothing leads to anything.

And the ending, oh, the ending! Not only it makes no sense in a physical universe, but it simply scratches everything that happened in the 100 minutes up to that point, on every level!

This is still not a spoiler, but the ending is a sequence that is all done in post. My hypothesis: a test group gave an earlier cut of the movie bad notes because it wasn't what they hoped it would be / they didn't like the ending. So someone decided they will add an ending that should satisfy... I don't even know who. No one who is ever going to see a film like this will be happy with this ending. It's beyond ridiculous, scientifically bankrupt (think: actual magic) and it was made in CGI after the movie was filmed.

Absurd.

TL;DR: see it on your own responsibility. It's not hard SF, it's not psychology, it's not character development, it's nothing that you thought it would be. And it has so little nudity or sex that I think people who talk about it in reviews are actually trying to sell it to others (disclaimer: I'm European, I don't need to pretend I haven't seen a girl's breast before)

The ideas for a great film are certainly here. A group of people attempting to form a society in a spaceship after they have no hope of making it back to civilization which is set against their deteriorating mental states is definitely an interesting concept. I mainly enjoyed seeing the various ways the passengers coped with this, such as cults or sex orgies popping up, or the Mima being heavily relied on by the passengers as a way to keep calm. I appreciated the undercurrents of escapism in these scenes and I responded the most to them. In that sense, the film is at its best when one views these scenes in a vacuum for their stylistic and sensory merits.

Skimming through some critical reviews, I noticed that a lot of people liked the production design. I enjoyed some elements of it such as the exterior shots of the ship or the framing of the Mima. Overall though, I wasn't a fan of it. While I didn't mind that the interior of the ship didn't look futuristic, I wish that more work would've been put into it as it felt like the film was mostly shot in a shopping center and a hotel. To a degree, this distracted me as I could feel its low budget.

Also, after finishing the film, I couldn't shake the feeling that, in spite of all its craft and ideas, it had ultimately failed to connect with me. For one, I wasn't a big fan of the pacing. The film operated at a high pace, leading to a handful of segments and some various scenes being glossed over, as if the film was always in a hurry to get to the next scene. This style of pacing clashed poorly with how mundane and uneventful life on the ship was, making it hard to get on the character's wavelengths. While I don't think that every film should represent sculpting in time, displaying such felt especially necessary for this film concerning its tone. I also felt like the pacing harmed a few character motivations since there wasn't enough breathing room to flesh the ideas out in them fully, like the Astronomer's or Isagel's final scenes in the film.

Overall, I wasn't too impressed by this film. The groundwork for a great film is certainly here and the film managed to work a couple wonders out of its script, but ultimately, I don't think the film delivered on its promising setup and it ultimately left me cold.

Toward the end of "Aniara" I kept thinking: thank god Bergman never made a science fiction movie. If you think Mother Earth is bleak, wait until you get lost in space, like the characters in "Aniara" do. And you truly do feel as though you're lost with them.

There are few ideas more appalling than drifting inexorably through the infinite blackness of space, not knowing if you're ever going to stop. "Aniara" provides a bleak portrait of people losing their minds as this goes on, resorting to cults, orgies and suicide.

It's a bit like "2001: A Space Odyssey" in reverse. That was about the development of the human species from pre-sapien species to our becoming one with the stars. "Aniara" begins with the stars, rejects oneness, and shows our utter devolution in space.

I say check it out.

Aniara is an interesting science fiction film about a Swedish spaceship transporting colonists to Mars, that is knocked off course ad drifts off into space. The film revolves around a number of characters and how they cope with the vastness and emptiness of space, and the difficulty with facing ones own imminent death.

Aniara is an oddity ,and difficult to fully examine, in my opinion. The film looks quite good, and has a great, science fiction soundtrack. The acting is quite good in many ways, with solid performances all around. Some of the science fiction here is interesting as well, as the film grapples with surviving in space, and all the issues that might entail. However, some of the plot points are quite silly, and the general collapse that the colonists experience feels somewhat forced or odd in certain circumstances. The film has a cerebral aspect to it, which can come across as without substance. Some aspects are interesting, some are mediocre, and some rather tame or silly.

That being said, I still enjoyed my time with this film. As the title states, this is a difficult film to rate, and transcended a like or dislike in my mind. It was certanily interesting to watch, with engaging visuals, solid acting, and an appropriate soundtrack. On the other hand, the directionless feeling of the film, and some of the quirky plot choices are a detraction. This film garners a 6/10 from me, meaning it is overall enjoyable, with a number of aspects that detract from a higher score in my mind.

A movie that manages to pay respect to the vastness of space. Great story. Super important and interesting theme and story, that I wish would be covered by more movies or series. Well done.

I was curious about this based on some of the higher reviews. I have no familiarity with the poem although it seems parts of it were quoted during the film and it seems as bleak as the film itself. What I was curious about was the story of a "ordinary" charter ship to Mars that goes astray and quite frankly has no way to turn back. I give it six stars for that alone. No "eureka" sci fi invention saves the day at the end. As for the psychological drama that unfolds it felt predictable and cheap. As one reviewer said the lesbian love scenes, orgies and and latent veneer of erotica (which I fast forwarded past) that surrounded the film distracted from what would could of been a very interesting introspective. Instead the story focuses on one peripheral crew member and her gradual succumb to the doom. The acting was ok. The movie wasn't bad but it just doesn't say much. And for a movie that is supposed to be based on world renown poem that is pretty disappointing.

One thing I can say for certain is that Aniara sucks you into its story. I was entranced by this film early on, and intrigued to see how it would all unfold. From the beginning, it is truly masterful at world-buildiing without needing too much expositioin to set things up. As things start to go wrong, the film becomes a fascinating look at the different things that drive and inspire society (and also the way people view existence.) You can definitely see the direct thematic correlation between the main characters in this film and different people in our own world who all take unique perspectives on the meaning of life. However, as time wore on, this film started to wear on me. I feel their point was made earlier, and yet we continue to watch as things spiral downwards for our main character and all those around her. The novelty of being on this spaceship disappears, the people aboard the Aniara begin to devolve, and the depressing tone of the story becomes almost impossible to tolerate. I understood the message the writer/directors were making about halfway through and yet things continued to drag on for another hour. By the end, I simply felt miserable and wondered why I had sat through it all. That's not to say that the film is ineffective. In fact, it nails the tone, and takes you on this oppressive journey through the desperation of life without meaning. I simply hated the experience because I prefer to cling to hope in real life and when watching a movie.

One of those spot films that have an undeservedly low rating. Not just "well, it could have been higher," but precisely "why the hell is it so low?" For 2018, the graphics are probably not the best where it is needed, and the staging of the entire action of the film a little bit falls, but this is not Hollywood either. For Sweden, I think this is a very, very high level of the film. But this is so small thing... in comparison with the most important thing in that film: the story itself. It's great. Saturated with an extremely correct vision of what would happen to people if they were in a similar situation. And the end, although it was expected, but... The last scene was just very dense and strong.

The story uses a multitude of plot devices, which would be fine is there was a plot worth speaking of. As it is, it's just a mess of depressing human drama without aim or purpose. As enjoyable as getting a teeth pulled.

"There is protection against almost everything, against fire and damage through storm and cold, but there is no protection against humanity," said Nobel Prize winner Harry Martinson, upon whose poem this film is based. On a spaceship accelerating to Mars from the ruined earth, people shop, eat and - with the help of virtual reality - dream as they always have done. When the ship veers off course, crew leaders try to keep the passengers from learning the truth. Power struggles ensue, fantasies and fears displace reality, and the ship starts to resemble (gasp!) a mini city on earth. Caught in the middle of the chaos and the factions is a cheerful woman who tries to make the best of the unfortunate circumstances. If only her companions would let her.

Poignant and relevant to contemporary culture, directors Kagerman and Lilja adapt the poem remarkably well to the screen. The film is wonderful for what it says about human nature. The salient moral is that technology is not fail safe, and only as good as the powers who wield it. The film is hampered by a skimpy budget, shaky camera work and bad transitions, but overall the acting is believable, and it is a fascinating glimpse at the human talent for avoiding reality, for better or worse, in whatever sphere we happen to occupy. World premiere seen at the 2018 Toronto International Film Festival.