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A film about a journey into space, in which the characters have to overcome the greatest distance while still on Earth, where they are separated by, for example, only thick glass. Whereas Gravity with Sandra Bullock told a story of (re)birth, in Proxima Eva Green undergoes demanding prenatal preparation (represented by a number of visual metaphors) prior to flying into space. Instead of discovering new worlds, she distances herself from Earth and her daughter in several phases (first only training in a children’s game, then a trial farewell with salamanders released into a stream, then communication only from a distance). Instead of the dangers of deep space, she faces pressure from a society that is sceptical about whether, as a mother, she can handle a similar professional challenge, whether leaving her Stella behind is the responsible thing to do. Tension is not induced by life-threatening situations, but rather by the attempt to balance her role as a mother with the physically and mentally demanding training recorded step by step. The film offers no sentimentalism (Sakamoto’s music is used sparingly), but procedural matter-of-factness and inventive (and touching) use of parallels between the situations of the mother and daughter (both become accustomed to a foreign environment, get to know new people and are forced to use a language other than their mother tongue). Physical and parental autonomy go hand in hand. A feeling of independence is the basis of the catharsis during an amazing scene with a herd of wild horses, which Stella apparently sees for the first time in her life and is at last close to that which she only previously dreamed of. If we do not break away, we will not achieve our dreams. 80% (2020.07.31)

Atmospheric, thoughtful, subtle. A journey into the universe that is unique, almost documentary-like and far from the mainstream of Armageddon and its ilk. Eva Green is traditionally great, and so are the other actors. The emotional level is impressive, it is clear that Alice Winocour has a typical directorial signature. Maryland and Proxima have many similarities and are definitely worth seeing. (2021.02.25)

Proxima is certainly not a bad film. I like the idea that astronauts (female astronauts) have to overcome a force other than gravity on their way to space, and Eva Green is beyond great in the lead role. Unfortunately, the story is not so great. It's kind of ordinary, nothing really surprising... And when it does surprise (with an incredible night "trip"), it's more annoying than anything else. (2020.07.07)

There are many films about space travel, but not many that chart the situation before leaving Earth, making Proxima one of the most thematically unorthodox of the lot. The film presents in a believable way the situation between a mother and daughter facing a one-year separation, while providing an (information-rich and authentic) insight into the difficult preparations for a space mission – a great challenge, a dream and a difficult life decision for the protagonist at the same time. At first, Proxima didn't really grab me, but in the final third it began to pick up momentum and offered a powerful story of mother-daughter separation. Eva Green gives a very convincing and noteworthy performance, and she was very well seconded by Zélie Boulant as her daughter. (2020.07.08)

Until about halfway through, Proxima looks very realistic, but then things start to happen that are pretty crazy. I'm particularly disappointed that the main character managed to leave the pre-departure quarantine without anyone noticing, and on top of that, she was with her daughter for several hours in an area that should be heavily guarded. If I focus purely on the direction, cinematography, and music, I have practically no reservations when it comes to these aspects. (55%) (2021.12.28)