SPUTNIK
 
Russia, 2020, 113 minutes, Colour.
Oksana Akinshina, Pyotr Fyodorov, Fedor Bondarshuk, Anton Vasili.
Directed Egor Abramenko.

Older audiences will remember the first probes into space by the Russians, the flight of Sputnik in 1957. Most audiences will remember that there was a long tradition, prior to the Americans, of missions into space, and in the 1960s, the flight of Yuri Gagarin. This film begins in that vein.

All seems normal. Two veterans are returning to earth at the conclusion of their mission. There is tension as well as anticipation of their arrival home. One a family man, the other, the leader of the mission conscious that he has abandoned his young son in order to train and go on the mission. Suddenly, red lights, a malfunction, landing in Kazakhstan, and death and a seriously ill astronaut. Where will this go?

Then, the introduction to the central character, a risk-taking nurse, called before a tribunal to be condemned for her unorthodox methods (even though they succeeded). And the connection? She is met by a colonel who invites her to an elaborate facility in the countryside.

The characters begin to come together, Tatyana invited by the colonel to examine Konstantin, the astronaut, who seems physically well at times, quite unwell at other times – and the screenplay then moves into Alien territory, science-fiction, alien intrusion and taking over humans with dire results.

For those who enjoy this kind of science-fiction, there are some grim and gory moments, but, in Russian mode, it is all to be taken very seriously. How to treat Konstantin? To enable him to remember what had happened in the spacecraft, the use of hypnosis to which he is resistant, Tatyana’s examination and conclusions, the role of doctors, the need for tight security guards, the intentions of the colonel in charge of the process (jingoistic, the alien a possible weapon).

For some audiences, this will be quite absorbing. For others, it may be an experience of simply observing. However, as the revelations continue, there is certainly an invitation for audiences to become involved, as does Tatyana. This is particularly true with some of the revelations of what the colonel is up to in terms of experimentation with the Alien. And, it is interesting how Konstantin is the home for the Alien, it protruding from his mouth, seeking prey, but the astronaut and the alien physically and psychologically connected, sharing and identity.

So, here is a Russian perspective on popular space and monster films of recent decades, tension and drama, some grim moments, but all presented very seriously – no irony, no light touches. And, finally, a shift from scientific observation to a humane involvement, Tatyana and her care for Konstantin but his future thwarted.

1. Science-fiction? Space exploration? Aliens? Possessing humans? Research, consequences?

2. The initial space setting, the craft, the two men, the conversations, hopes on landing, the family man and reunion, Konstantin and his leaving his son? The reconciliation? About to land, the red light, the episode, the crash landing, the death of the astronaut, Konstantin, the blood, sick? Found by the horsemen?

3. The Kazakhstan setting, the countryside, the facility, the laboratories, the corridors, the offices? The musical score?

4. The introduction to Tatyana? The board meeting, the accusations about the treatment of the boy, her self-assertion, the boy’s recovery, her being condemned? The colonel and his meeting her, his proposition? The going to the facility?

5. Konstantin, his physical state, his mental state? Tatyana and her interview, her conclusions? Dr Rigel, his treatments, the attempted hypnotism, Konstantin resisting?

6. The role of the colonel, his personality, his employing Tatyana, his not relying on Rigel? The revelation that he was observing, wanting to create a weapon?

7. The effect on Tatyana, the discovery of the alien creature, possessing Konstantin, protruding from his mouth, the physical transformation, the identity of Konstantin with the creature, the psychological and physical connections?

8. The experiments, Tatyana observing, the convicts, their crimes, punishment, exposed to the creature, their being devoured? Tatyana and her reaction?

9. Tatyana, the confrontation with the colonel, his permitting her to observe and examine? The contact with Konstantin, the bond growing between them? Her learning about him, his son, his training, the sacrifices to be an astronaut, the mission?

10. Tatyana and her decisions, to defy the colonel? Getting Rigel on side? The arrangement of the car, distancing the colonel, the guards, their deaths? Konstantin in the car, their driving away? His physical condition, psychological condition?

11. The pursuit by the colonel, their stopping, the creature emerging, the colonel wanting to shoot, his being attacked? His death? Tatyana dragging Konstantin to the vehicle?

12. The arrival of the guards, Konstantin and his decision to kill himself?

13. The boy, at the orphanage, the enigma of his identifying as Tanja? The help of the woman at the desk? Tanja visiting, meeting the boy, the embrace? The future?