Jupiter: the fate of the universe redefines space opera [critique]

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The last Wachowski movie returns tonight on TMC.

To wait until the exit of Matrix Resurrections, realized by Lana wachowski, and on the cover of the new issue of First (n ° 524, December 2021), TMC reprograms tonight Jupiter: the fate of the universe, last film directed by the director and her sister Lilly. Here is our review, published when it was released in 2015.

Summary of Premiere n ° 524: Matrix 4, L’Evénement, The Witcher, Ghostbusters: the legacy …

In a futuristic New York, Jupiter Jones is a Russian immigrant who (on) lives by scrubbing toilets or selling her organs. When she finds herself stalked by a bounty hunter, her life takes a new turn. The universe lives under the yoke of alien siblings who vie for absolute power. Jupiter will discover that she is in fact the reincarnation of a princess and that her DNA can make her the leader of the rebellion. We had left the Wachowskis, small thinkers, but big filmmakers, on their disproportionate fresco, Cloud Atlas. The post-apocalyptic rubbed shoulders with cyberpunk and the experimental in an incredible theoretical sketch film that went from the worst (les moumoutes de Tom hanks, the sometimes inconsistent subject) to the sublime (the prayer of Sonmi and the melancholy of the musical segment). Here they are again with a crazy work that clearly seeks to redefine a modern and hybrid form of space opera – particularly of Star wars. The bounty hunter evokes Han Solo and the love affair between the princess and her bodyguard shows the Wachos brazenly looking Lucas straight in the eye. Above all, the film synthesizes all their obsessions. It is about a chosen one, mystical interconnection, revolutionary mythology and, above all, human emancipation …

Corn Jupiter is first of all a sublime precipitate of Wachowskian grammar. A visual trip of unparalleled ambition, a roller coaster that alternates orgasmic chase-chase, mystical dialogue and dazzling space combat, the film never stops and provides a cinematic enjoyment as few blockbusters still manage to do.

As usual, in the field of staging, it is unlike anything known: intergalactic soap opera with artistic direction to the end, Jupiter borders on bad taste (the look of Tatum, the giant lizards and the actors coat racks that gently wander) to better touch the elegance and the film constantly organizes its own vertigo. The whole plot is based on the opposition between the dubious trivial and the fantastic Shakespearean. A lady pee finds herself projected into an SF universe, multiplies the limit jokes before being absorbed in a classic tragedy. This is where we find the meaning of the mash up which is the imprint of the tandem. There we perceive this megalomaniac and adolescent daring, coupled with a visionary and (too?) Profuse formalism, which is the strength of the Wachowskis and behind which is expressed an idealism that has become very rare at the heart of the Hollywood system. The pirates have struck again.

Trailer :

Lana Wachowski: “The idea of ​​Cloud Atlas is to approach modified states of consciousness”

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