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Rating:
It is a film that surely everyone has seen: directed by Christopher Nolan and released in theaters almost 10 years ago; great actors, great photography, great screenplay.
A story that, at first glance, may seem complex to understand but, by watching the film multiple times, it will get under your skin and never leave.
Compatible with quantum physics, the plot of Interstellar follows a temporal linearity, which helps us understand how the theory of relativity, speaking dynastically, is the progenitor of modern loop quantum physics.
The universe is. It does not happen. It does not unfold over time. And, when Cooper emerges from eternity, although he is seeing only a part of it, he interacts with it, like a piece of the infinite—namely, a puzzle of destiny.
For this reason, the moments surrounding him and Murphy in the library and when he enters the tesseract, are connected: present, past, and future coexist in a single block, and, in the mind of man: in the consciousness where they appear. And, marked by time, they give us the impression that it flows chronologically and linearly.
Gravity, which is found inside the black hole Gargantua, is the singularity; that is, what allows Cooper to observe the universe: beyond eternity, in eternity, and to be able to interact with it.
Cooper is the missionary. The chosen paladin by God. In the film, God is depicted through the expression: “they”; but, (they) are none other than the same divine human beings inhabiting the future, interacting with eternity in five dimensions.
In this film, love is represented: as aiding choices—hence free will—with the coming of what manifests in the future; reminding us that love itself transcends the material—the empirical—but, not only that; love itself (first understood only as convenience). We are the manifestation of transcended love that, in our psyche, can be thought of; and precisely because it can be thought of, it can transcend as something other than itself and therefore be thought of as convenience.
This is hinted at by the phrase of Dr. A. Brand, when referring to the transcendence of the latter: consequently, love cannot be convenience but, it is the reality that holds the whole universe together.
Federicocope for Debaser.
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By Mr.Black
Nolan, a man of tin. Yet in this film, he seems to have discovered the power of love, but is it his choice or an attempt to create a Spielbergian product that Hollywood loves so much?
With this irony, I want to emphasize that Nolan, being an intelligent director and not a fool, managed to blend even this final theory quite well, making it digestible even for someone like me who hates this kind of stuff.
