29/08/2023 - With limited production means yet lashings of creativity, Luis Tinoco crafts a compelling debut feature set entirely within the four walls of a SETI observatory

You’ve been sitting within the same four walls for years, studying mysterious signals that may reveal the presence of some extraterrestrial beings somewhere in outer space. During this Waiting for Godot-like existence, you are fully committed to your research efforts, while also being aware there’s a chance that all of this might just be a waste of time. One day, however, Godot surprisingly shows up – one of these signals looks authentic, and your name might be cited in the history books forever more. You’re obliged to stay in that room, perform all the proper checks, and make sure that your discovery is not just another “false alarm”. On the other hand, your father (Jaume de Sans) is on his deathbed, and remaining in the observatory for a few more hours may jeopardise the last chance you have to see him before his impending demise.

This the engaging premise behind Alexandra Baeza’s story (played by the talented Andrea Trepat), the protagonist of Luis Tinoco’s sci-fi drama The Antares Paradox [+see also:
trailer
film profile]. Tinoco’s debut feature has been showcased in the Moonwalker Features strand of Santarcangelo di Romagna’s Nòt Film Fest, where it won the Awards for Best Picture and Best Performance, the latter bestowed upon Trepat.

Baeza, a scientist working for the much-neglected Spanish branch of SETI, is initially seen participating in an online interview, just a few hours before the beginning of her shift. The interview, excerpts of which will be disclosed throughout the film, will clarify the nature of her work along with the feature’s main narrative themes. Such on-screen communication is a simple, effective choice that helps us get accustomed with many of Alexandra’s interactions with the outside world. Stuck in the observatory, she’ll be texting, ringing and video-calling people desperately seeking help and understanding, and this ultimately intensifies her loneliness and solitude. There is also a subtle, yet effective, criticism of the oppression of women in the workplace, as it’s quite clear that some of Alexandra’s colleagues don’t take her very seriously and end up mistreating her.

As the narrative pace quickens over the last third of the picture, we may realise that the closure of the narrative arc feels a little too rushed. The scientist’s struggle between pursuing her research – while proving everyone else wrong – and remaining close to her loved ones spirals out of control, however, taking unpredictable yet extreme turns.

All in all, Tinoco’s debut feature is a compelling tale, which manages – with limited production means and decent writing – to keep the viewer hooked. Besides this, Tinoco’s attention to detail is spot on. Specifically, what stands out are Arnau Bataller’s elegant score, Trepat’s careful work on portraying the astrophysicist – constantly teetering between obsession, her sense of duty and her desire to choose her family over her career, for once – as well as various production-design choices. For example, the Post-it notes and the numerous items left on her desk look credible and give her surroundings a “lived in” feel, hinting that nothing has been left to chance and a great deal of research has been carried out prior to rolling the cameras.

The Antares Paradox was produced by Spanish outfit Onirikal Studio.