7.4

I.S.S. Is a Tense Space-Bound Thriller that Mostly Sticks the Landing

By Elijah Gonzalez  |  January 16, 2024 | 10:00am
Movies Reviews Sci-Fi Movies
I.S.S. Is a Tense Space-Bound Thriller that Mostly Sticks the Landing
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Few aspects of space travel are as mythologized as the overview effect. The term, coined by Frank White in his 1987 novel of the same name, refers to the life-changing experience of seeing Earth from the upper atmosphere, which can stoke deep-seated revelations such as an increased belief in transnational or environmentalist thought. Even if you haven’t heard this term, you might be familiar with the sentiment; perhaps you’ve even experienced a miniature version of the phenomenon after looking at the “Blue Marble” or any other image that presents our planet as a small orb flanked by the vastness of the cosmos. There is optimism here, that a moving image like this can recontextualize how we see the world, bringing us closer together and making us see the bigger picture in the process.

I.S.S., a space-bound thriller from director Gabriela Cowperthwaite, essentially asks the inverse question. What if, instead of seeing a tranquil blue sphere while looking down from orbit, you saw entire continents bathed in thermonuclear flames? Would the astronauts stranded on this space station—abruptly placed on opposite sides in an apocalyptic war between superpowers—be able to maintain their previous bonds, or would they succumb to the same bloodletting that’s consumed their planet?

Over its 95-minute runtime, I.S.S. largely makes good on its attention-grabbing premise with claustrophobic filmmaking that conveys what it’s like to be confined in a titanium death trap with people who may want to kill you. While its decision to turn a symbol of global harmony into a paranoid reflection of our worst impulses initially comes across as one-sidedly cynical, it eventually establishes marginally more nuance as it provides just enough motivation for these astronauts struggling to survive. It’s lean, mean and reiterates the evergreen notion of how much it sucks to be trapped in space.

Dr. Kira Foster (Ariana DeBose) is the newest member of the I.S.S. crew, a biologist who joins NASA to develop cutting-edge organ replacement research that can save lives. She joins a team that’s a 50/50 split between American astronauts and Russian cosmonauts, a seemingly friendly bunch who carry out a warm welcome celebration for the fresh recruit on her first day. However, during the merrymaking, a colleague offers a word of advice: To work in harmony, it’s essential to leave politics at the door.

Unfortunately, this tip becomes difficult to follow after the group witnesses something unbelievable. While looking down at North America, they witness a flash on the surface so big it can be viewed from orbit. And then another, and many more. High-ranking NASA astronaut Gordon Barrett (Chris Messina) and his Russian counterpart Nicholai (Costa Ronin) receive private messages from their respective governments that America and Russia have engaged in a nuclear war. They both receive orders to take the station “by any means necessary.” 

Delivering close-quarters anxiety, I.S.S. is unrelenting. Shortly after its early turning point, tensions exponentially escalate as these people size up if they think their former friends can do the unthinkable. This space station is tiny, a place where privacy and personal boundaries are next to nonexistent, magnifying each small gesture and implication of intent. Nick Remy Matthews’ intimate camerawork captures this constant proximity to potential enemies, and early scenes are rife with the captivating sense that things will go sideways at any moment. It also helps that the film gets the most out of its relatively modest budget, with convincing set design that brings to life the stark white corridors and zero-gravity physics of its backdrop, adding to an atmosphere of authenticity and danger.

And when events finally do fully break bad, I.S.S. goes beyond offering a simplistic rebuttal of the overview effect and its implications. Rather than conflicts breaking out along cleanly delineated national borders, there is more at work in Nick Shafir’s script, which creates a genuine degree of uncertainty around what these characters will do next. Kira doesn’t want to hurt anyone, but a past betrayal makes her wary of trusting others—even her supposed allies. Meanwhile, Gordon is in a romantic relationship with Weronika (Maria Mashkova), one of the Russian astronauts, and has no intention of fulfilling his orders. The realization that they’re at war doesn’t result in some automatic switch being flipped, where suddenly these people can butcher each other without remorse. As a result, when violence finally does occur, it carries far more weight.

The performances capture these pained turns, and Pilou Asbæk’s role as Alexey is the best example. Despite being established as a foil early on, we see his complicated feelings in worried glances and the creased lines on his forehead. Similarly striking is Christian (John Gallagher Jr.), whose weaselly ways are insufferable and captivating in equal measure. Admittedly, the film’s brevity and relatively short lead-up before these characters are in the thick of it means that most of them aren’t developed beyond behaving as bundles of nerves, but these portrayals help mitigate this drawback. 

Although we get a brief explanation from Kira about her motivations, some references to off-screen family members, and a friendly conversation or two, the crew is on the lighter side when it comes to characterization, which is primarily a problem when it comes to an undercooked ultimate foe. Still, the proceedings are tense enough that you likely won’t have much time to consider these shortcomings until the credits roll, a testament to Cowperthwaite’s ability to ratchet up the pressure until it feels that something is going to blow.

Instead of coming across as an overly cynical rebuttal to the underlying hopes of space travel, I.S.S much more specifically argues that it only takes one or two monsters to break things beyond repair. This not only results in a more thematically interesting picture, but amplifies its stand-offs and twists by making intentions murky. It’s a single-location thriller that knows the assignment, cranking up the heat as distrust builds and its stark white chambers become entirely suffocating. Although its barebones backstories and straightforward storytelling may not leave a massive impact, I.S.S conveys the dangers of space and human desperation in a way that will leave you gasping for oxygen.

Director: Gabriela Cowperthwaite
Writer: Nick Shafir
Starring: Ariana DeBose, Chris Messina, Pilou Asbæk, John Gallagher Jr., Costa Ronin, Maria Mashkova
Release Date: January 19, 2024

Elijah Gonzalez is an assistant TV Editor for Paste Magazine. In addition to watching the latest on the small screen, he also loves videogames, film, and creating large lists of media he’ll probably never actually get to. You can follow him on Twitter @eli_gonzalez11.

 
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