The catastrophic collision between the ”goldondern” Aniara, the culture’s most famous räddningsfarkost, and an interstellar stensvärm echoing through history.

The gigantic space ship thrown off course and starting to push out in the big nothing has been channeling and symbolize the very existential angst in different forms of art.

Harry martinson’s lyrical undergångssaga ”Aniara: a revue of man in time and space” has since the 50’s, turned into opera, ballet, concerts, scenmonologer and musical. It has inspired dödsmetallare, been transformed into public art, and even become a seriebok.

based on the ”Aniara” avoid the good enough the big gestures and the high-voltage tilltalen. Regiduon Pella Kågerman and Hugo Lilja orchestrates admirably quiet and efficient its lågbudgeterade undergångsvision in the prosaic environments. Imagine a scenographic mix between a newly renovated gleaming shopping mecca and a revamp for london.

The thousands of emigrants who initially board the domestic Aniara, many burn victims, leaving a ravaged planet to seek a new future on Mars. A snabbcollage of katastrofbilder specifies the rush.

The traumatized crowd soothed by a plethora of shops, soft carpeted floors, recessed lights, nightclubs and children’s playroom. The greatest consolation of the Password, the strange mixture of high-tech datorhjärna and gudabenådat beings that stored everyone’s memories of the good old mother earth.

Mimaroben, Mimans attendant, will be our escorts out on the ”Aniaras” slippery slope. Crises, cults and chaos succeed each other in one long death dance in a blue-grey electric light. Hot flare up of hope mixed with cold fatalism. It is a hard but also unexpectedly intimate and känslostark katastrofskildring without the after effect.

Read an interview with Pella Kågerman and Hugo Lilja on the art of film ”Aniara”

The kongenialt restrained electronic music, without any operatic gestures, works very nicely together with the images. The vardagsbetonade dialogue at some get charged occasions a lyrical approach taken from the original text with its rymdslang, which creates stylish konstrastverkan.

the interpretation of the young Mimaroben that all the time desperate take care of their hope and cultivating his ability to love. Anneli Martini is salty, and entertaining in the role of her opposite, the illusionslösa astronomer Roberta. ”People have never impressed me”, says the older woman cold.

Arvin Kananian play in turn rymdbossen Chefone who gymmar away his anxiety with the impressive cold. But the characters are a bit anonymous, which remains ”Aniaras” biggest weakness.

It is a hard but also unexpectedly intimate and känslostark katastrofskildring without the after effect.

”But soon goes the alarm. The bells proclaim // to the fairy tale images are förbihunna // of the visions here that the anxiety will enkindle”, penned Martinson, in their time, driven by the horror of nuclear war and incipient environmental pollution.

today, klimatlarmet gone a long time ago. In a certain dark future, we are all in the day passengers on board the sarcophagus Aniara, on the way to our demise – something that this drama stillfullt but right ångestskapande recalls.

See more. Three other deep existential science-fiction films: ”2001: A space odyssey” (1968), ”Interstellar” (2014), ”Arrival” (2016).

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