2014: An Interstellar Odyssey

By Langston Teijeiro

Upon curiosity of venturing into the unknown, we as humans have always attempted to satiate our urges to look beyond our own reality. We as a species have always found ourselves looking up to the stars, and have pondered our relevance in a vast universe. We place so much value on our lives and we are delusional enough to believe that we are the prime beings in our universe. Throughout the past week, in between breaks of writing my scripts, I walked all around different areas of Manhattan in an attempt to achieve any form of human connection: eye contact, a nod, maybe even a smile?

In this endeavor, I found a whole bunch of people spending every fiber of their energy looking down onto a tiny screen; myself included at times. At this point, I wonder about the curiosity of my species. We lack the incentive to look above and beyond our own realm of knowledge, reality, and primitive priorities. We have lost the art of curiosity and must find a way to rekindle it.

However, all of that changed on November 5th, 2014. I was fortunate enough to catch an early screening of Christopher Nolan’s “Interstellar” in 70MM IMAX format.

Suddenly, my incentive to look beyond was reborn as the opening scene began to roll. Christopher Nolan’s ode to Stanley Kubrick’s 2001: A Space Odyssey is mesmerizing, to say the least. Screenwriter Jonathan Nolan’s script brilliantly delivers an emphasis on Quantum Physics fuzed with elements of human nature that I’ve never seen in a feature film before.

Matthew McConaughey delivers the second best performance of his career as Cooper, who finds himself more lost on earth than he does in space. The ensemble cast fuse together to produce organic performances from Jessica Chastain, Michael Caine, Casey Affleck, Bill Irwin, Anne Hathaway, Matt Damon, the legendary Ellen Burstyn, and many more. The great Hans Zimmer composes a score mostly consisting of an organ, which leads to a haunting demeanor that elevates the experience. The incident in the third act flawlessly fused scientific theories with human emotion. The film ends with arguably one of the greatest cameo appearances ever performed, and with a voiceover that touches the soul of the viewers, including my own.

To conclude, we live in a time where accessibility and technology are key priorities in our existence. “Interstellar” demands us to appreciate cinema in an organic and old fashioned manner by showering us with jaw-dropping visual affects and opportunities to travel across dimensions, all while still reminding us that we are human, after all.

My suggestion is that you go see this film… and see it in the largest screen possible.

A Journey “Under The Skin” 

By Langston Teijeiro
Aliens? Extra-Terrestrials? The Third Kind? The Fourth Kind? Maybe you turn to the Spielberg classic “E.T.” for answers, or to Ridley Scott’s crowning achievement, “Alien,” for a compelling sensation of vulnerability, and helplessness, as I do. Maybe you even look up at the stars? Well, early in 2014, I had the pleasure to sit in a quiet, empty theater for the newest work by Jonathan Glazer, a British director who has led some independent classics such as “Sexy Beast” and “Birth”. Undoubtedly, “Under the Skin” is the Golden Standard of Science Fiction. It gave me chills beneath my skin, despite the fact that one primitive human being booed as the ending credits began to roll.
Scarlett Johansson delivers the performance of her career as an attractive being who is physically, emotionally, and spiritually lost on Earth . The film is photographed and shot so eerily, that I began to feel as if the spirit of the great Stanley Kubrick lent a helping hand. This story is best said through the eyes of Johansson’s character, who is clearly in pain, finding her thrill by sexually teasing men and then disposing them into her own fluid. This is an interesting concept, especially since the majority of sexual activity derives from fluids. 

However, by the third act of the film, we realize that her beauty is really only skin deep… and we can feel her torment. The human audience magically finds themselves relating to a character not born in this world, and we begin to pity her. She can’t find peace anywhere, and her beauty is her curse. The film ends as an expose of her repulsive characteristics– her “true” colors are shown.

Langston Teijeiro is a 24 year old screenwriter based out of New York City and Los Angeles. He is currently in the process of planning his first directorial debut (Which he wrote himself) and should begin shooting Summer 2015. He was born and raised in Miami, FL, and graduated from Florida International University in August 2012.