SUNSHINE. Science fiction story that enchants

Danny Boyle’s Sunshine hit theaters in 2007 – how do we rate this production? Below are our opinions.

Jakub Piwoński

Space is the perfect place for a long journey into the unknown. A journey whose goal is to reach ultimate truth. And often creators make use of the vastness of space in precisely this way. In Boyle’s case, however, the nature of the space expedition is more symbolic, or rather metaphorical. After all, it’s impossible to take seriously the concept of traveling to the star closest to us. It sounds absurd at best. That’s why, for me, the main meaning lies in the very idea of the journey, which in this case takes the form of a pilgrimage.

Its finale is a confrontation with the supreme light. So, it’s not the effectiveness of the goal that matters, but the effort itself. I value this philosophical foundation in Boyle’s film. I also appreciate its refined aesthetics – because that too has significance. Thanks to it, I feel so comfortably seated throughout this journey. And that’s the case every time I watch it. Atmosphere, my friends, atmosphere once again!

Sunshine is a synthesis of classics of the genre such as Alien, 2001: A Space Odyssey, and Event Horizon. Boyle, however, is in no way indebted to those films – skillfully drawing from the best models, he creates something entirely new. 9/10

Filip Jalowski

Within Boyle’s filmography, Sunshine is undoubtedly the most distinct entry. The British director is known for genre juggling, restless shots that often erupt into frenetic editing. Even when telling the story of a man who can’t move from his place, he does it in such a way that the viewer can barely sit still from the tension. He tells stories so that, even with the protagonist confined, the audience feels the violent passage of time and the rush that decreases the chances of survival with every second.

The journey toward the sun is entirely different. This is cinema full of contemplation and visually refined, painterly shots. But above all, the film is built on a solid philosophical foundation.

What could have been just a spectacular disaster movie instead becomes heavy science fiction – not so much about the titular journey to the sun, but about humanity’s journey inward. A search for light, hope, God. In Sunshine, Boyle sets aside most of his usual tricks. It is, in essence, rather conservative cinema, openly referencing classics like Kubrick’s 2001 or Scott’s Alien. The same atmosphere, built around man’s helplessness in the face of the abyss – both cosmic and the one within his own mind. 8+/10

Rafał Oświeciński

Atmosphere, atmosphere, and once again atmosphere – if you’re looking for a film that can enchant visually and sonically while intriguing with its narrative concept, Boyle’s film sits among the very best science-fiction of the 21st century. It’s a hallmark of “atmospheric cinema,” a hard-to-define genre (?), form (?), style of storytelling (?). Many elements of Sunshine can be sweetened, as my colleagues above have done quite effectively. But I’ll add a drop of bitterness to the honey barrel – the construction of the “bad guy,” his motivation, the way the conflict is developed and resolved, are all very formulaic moves. And that hurts all the more because this is not a formulaic film, even if its predictable ending (a strength!) suggests otherwise, and Boyle’s style usually excluded relying on clichés.

What’s missing here is consistency – the sustained atmosphere of uncertainty and helplessness. I’m not saying this cliché should define the evaluation, but for me it’s a noticeable flaw. That’s why only 7/10, because it simply doesn’t reach the level of Scott’s Alien, Kubrick’s 2001, or Cuarón’s Gravity.