George Clooney’s cast unpacks the area

Brian Truitt

|. | USA TODAY

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Spoiler warning! The following details the end of Netflix’s “Midnight Sky,” so be careful if you haven’t watched it yet.

George Clooney’s apocalyptic space drama “Midnight Sky” (now broadcast on Netflix) brings an end to Earth, although its finale provides a glimmer of hope for the future of humanity.

The film follows astronomer Augustine Lofthouse (Clooney), a terminally ill man who decides to live his life in the Arctic Circle as the deadly radiation spreads across the earth. He protects a young blind traveler named Iris (Caoilinn Springall) as he tries to warn a crew of astronauts returning to stay away from the planet.

Augustine communicates with Sully (Felicity Jones), a pregnant member of the spaceship Ether – returning from Jupiter’s newly discovered moon K23 – and the audience learns that Sully is actually Iris Sullivan, Augustine’s adult daughter she never met. Which means that little Iris was the fruit of the dying man’s imagination and also a symbol of his redemption.

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That “moving” and revealing scene “was the reason I wanted to make the film,” Jones tells USA TODAY. “That kind of reconciliation with someone’s past is a pretty emotional moment.”

Living with regret (in Augustine’s case, not connecting with his daughter to the end) is something that Clooney thought a lot about creating “Midnight Sky”.

“I have people I know who are older than me, who live with a lot – huge, great regret in their lives,” he says. “And it doesn’t get better when you get older. It festers like cancer in you and makes you bitter and angry and (unlocked) on yourself and all that stuff. The desperate need for redemption, in a way, is molecular to us.”

For Mitchell (Kyle Chandler), Ether’s pilot, what is at his core is returning home. After spending a two-year mission missing his family, he decides with his friend Sanchez (Demian Bichir) to return to Earth on the run to try to find his loved ones. Meanwhile, Sully and her partner, Commander Tom Adewole (David Oyelowo), decide to head back to K23, a place for people to live, and pretty much restart the human race.

Chandler liked in Mitchell’s ending that at age 55, the family man himself could understand the decision. “I still want to smell the ocean once again. I want to touch Mother Earth, “he says.” I can’t just go back and ride the cold universe to a new place we’ve found, a new world. “

As for Sully and Tom, they have a quiet moment when they realize the enormity of what they are going to do. As loans roll, they return to work on board.

“There’s a strange calm to the end, isn’t there?” Jones says. “There is pragmatism here, which is quite interesting to go through almost an apocalypse like we have had in the last few months. It’s amazing how practically it just takes over.

“Also, it is, in a sense, a celebration of love. The love between Adewola and Sully is what will keep them going. Their focus is on their child’s future and ensuring that it is a secure future. “

Oyelowo, feels that the finale – inspired by “The Graduate” – is indicative of the film’s meditative and cerebral qualities. “You can’t play the emotion of what it would be like to be basically Adam and Eve,” he says. “What would it be like to go back to the planet knowing it’s pretty much done?” How does it feel to have the task of going to find a planet for humanity to colonize and populate? These are existential issues that are too astonishing.

“You can only play the reality of what’s in front of you,” he says. “It allows the audience time to relax, think and maybe even project what they would do in those circumstances. That ending is somehow perfect, because what else needs to be done but continue with it now? “

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