The movie succeeds in showing that human beings can be courageous and innovative despite their human frailties.
Sci-fi movies are often characterized by inhuman coldness. However, Nolan has made a deliberate attempt to refute this statement. He roots for a futuristic world that is represented by images of pastoral and corn fields. In addition, it alludes to the American Dustbowl aesthetic that followed the Great Depression. There is a deliberate attempt to refer to the old generation. Cooper’s father-in-law (John Lithgow) describes his childhood as one of the most productive eras in the history of humanity (Interstellar 1). The audio-visual cues provide the audience with an anchor in this barren future. Consequently, it forces the audience to forget its present generation and to look at itself in terms of an alternative future (Morgan 1).
In the movie, Mathew McCaughey acts as Cooper, a former astronaut who turns to farming an infertile earth. The planet has revolted against humanity. As the central character, Cooper is forced to choose between his family and saving the human race. The dilemma is resolved through his utilitarianism. Consequently, Professor Brand (Michael Caine) of NASA sends him into space (Interstellar 1). His mission is to find a wormhole on the outer sphere of Saturn that the human race can use to search for a new land.
One of the most significant things in the film is a close relationship between Cooper and his daughter Murph. The young character is played by three different actors as she progresses through the different life stages. Mackenzie Foy, Jessica Chastain and Ellen Burstyn play as Murph. The relationship between a father and his daughter becomes a significant spectacle of Nolan’s space era. When Cooper decides to leave, the audience sees the pain in both a father and the daughter (Kermode 1).