Ukrainian filmmaker Pavlo Ostrikov has debuted his first feature-length film, U Are the Universe [+lee también:
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Ostrikov has explored existential themes in his earlier short films like When the Trees Fall, an intimate drama set amidst a broader societal and natural context. In U Are the Universe, he expands these themes, exploring love and isolation on a larger, cosmic scale. Andriy, an awkward loner with limited social skills and emotional intelligence, embodies the everyman. His initial indifference to the apocalyptic event that leaves him stranded in the vast emptiness of space does not spiral into despair; instead, he begins to relish what remains of his existence, including the spaceship’s dwindling supplies. His sense of purpose is restored when he receives a voice message from millions of kilometres away, setting him off on a quest to discover its source.

Originally conceived as a short play, U Are the Universe retains the intimate feel of its origins as a chamber dramedy. Ostrikov, who adapted his own work for the screen, maintains the confined, dialogue-driven narrative, with the protagonist’s interactions limited to those with his robot companion, besides his own inner thoughts. The film shifts fluidly between genres, beginning as a sitcom reminiscent of Red Dwarf, before moving on to pay tribute to classics such as 2001: A Space Odyssey, which it gently parodies, and settling into an intergalactic version of You’ve Got Mail. At its core, the story is about the power of hope and human connection, driving Andriy forward even as his spaceship falls apart, echoing Alfonso Cuarón’s cosmic survivalist thriller Gravity [+lee también:
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Visually, Ostrikov opts for a worn, lived-in aesthetic that brings a gritty realism to the sci-fi genre. The spacecraft is jaded and weathered, while the retro-futuristic interior, complete with an antiquated robot, defies the typical portrayal of sleek, sterile spaceships. Cinematographer Nikita Kuzmenko employs tight, claustrophobic shots to emphasise the cabin fever and the oppressiveness of the protagonist’s predicament.

Ostrikov transforms the introspective, existential drama into a film that is tinged with melancholy but grounded in humanism, focusing on the struggle to find meaning in the face of overwhelming loneliness. While the narrative rubs shoulders with familiar tropes, Ostrikov largely avoids falling into major clichés, particularly in the third act, where unexpected twists lead to a touching yet devastating finale without it losing the humanistic touch.

U Are the Universe was produced by ForeFilms (Ukraine) and Stenola Productions (Belgium). The international rights are handled by True Colours.