‘I.S.S.’ Review – An Immersive, If Familiar Psychological Space Thriller [Tribeca 2023]

In space, no one can hear you scream. It also means that no one can hear you make comparisons to other space movies, a tiring reality no modern entry into the genre can escape. The shadow cast by titans like Alien, 2001, and Interstellar is always looming, but it often feels like sci-fi fans are the ones most responsible for upholding it. For a genre to populate, it needs movies, even if not all of them are wholly remarkable. So long as they deliver the goods – expansive space cinematography, claustrophobic tension, maybe a metaphor or two – you can consider it a success, even if mildly. Such is the case with I.S.S., the latest zero gravity thriller to enter orbit. Though its deeper insights feel limited, a combination of strong individual parts make up for an otherwise unremarkable whole.

One of these aforementioned parts is the film’s premise: six astronauts, three American (Ariana DeBose, John Gallagher Jr., and Chris Messina) and three Russian (Pilou Asbæk, Maria Mashkova, and Costa Ronin), are aboard the titular International Space Station when a nuclear attack leaves both countries at war. Each captain is individually notified by their respective governments that their new mission is to take control of the space station by any means necessary. Audiences are likely expecting the film to, from this point onward, shoot from the hip. However, writer Nick Shafrir allows this plot catalyst to slowly trickle down the ranks, causing intense rounds of social deduction between crew members who just began to bond.

Despite occasionally losing itself to aimless plot devices, I.S.S.’ setup is ultimately an effective macguffin for an Agatha Christie-styled psychological thriller. Space and science are a fun backdrop, but what really makes this story engaging are the characters’ relationships to one another, or rather how they are challenged by traditionally base tenets of self-preservation and nationalism. DeBose’s Dr. Kira Foster, our lead character, preserves trust in her fellow astronauts, even as their relationships slowly crumble. However, she’s also the one with the least to lose; Gallagher Jr.’s Christian is a devoted father (take a shot every time he says he needs to “see his girls”), while Messina’s Gordon Barrett is caught in a romance with Mashkova’s Weronika, the only other female astronaut on board. This complicates things for the Russian cohort, torn between loyalty to their country and their friendships with the American astronauts. 

All of these dynamics fracture as the film goes on, set against impressive space cinematography and visual effects that immerse you in the setting. DP Nick Remy Matthews keeps the camera floating throughout the majority of the film, replicating the station’s zero gravity but also adding a greater sense of unease to every interaction. The film’s recreation of space, though perhaps not as breathtaking as other entries in the genre, doesn’t care to point attention to itself in a greater effort to feel realistic and tangible. One suspenseful sequence sees Barrett attending to maintenance outside the shuttle; the viewers of a nuclear-scorched Earth will surely please any fans of the final frontier. All of this sets a strong environment for the film’s game cast to inhabit. DeBose provides another performance colored with natural warmth and confidence, but it’s Gallagher Jr.’s breakdown that will leave the greatest impression.

Early in the film, it is revealed Dr. Foster has pet mice that she has brought with her to the station; she secures them in a cage but, shortly after, one of them has already been attacked. It’s an early example of the film’s strong pockets of symbolism, though they are just that: pockets. There’s plenty on this film’s mind, including at least one allusion to the Cold War, but those looking for new insight from familiar observations won’t glean much. It’s too interested in progressing events to dwell in the psychological torment, which reaches a dead end in an ending that leaves a confused taste in your mouth. Still, I.S.S. provides the tragedy one expects at the onset while also proving director Gabriela Cowperthwaite’s chameleonic genre abilities, even if there isn’t anything launching its storytelling into the stratosphere.

I.S.S. had its World Premiere in the Spotlight Narrative section of the 2023 Tribeca Festival. It is currently seeking distribution.

Director: Gabriela Cowperthwaite

Writer: Nick Shafir

Rated: NR

Runtime: 95m