If Interstellar is filmmaker Christopher Nolan’s (Memento, Inception, The Prestige) most ambitious film, it’s not because of its cost or its intergalactic scope, but rather because “love” is the most speculative and unscientific concept that he’s ever tried to explore. When Nolan was recently quoted as saying that his film is about “What happens when scientists bump up against these things that defy easy characterization and analysis — things like love”, his comment engendered skepticism from people whose enthusiasm for “the next Nolan film” was irrevocably hampered by the increasingly derided Batman-threequel The Dark Knight Rises. And while Interstellar drowns itself into near Speilberg-levels of sentimentality almost every time it’s on the precipice of arriving at a moment of cinematic wonder, Nolan’s approach to love is ultimately as blunt and practical as we should expect from the man who in Inception imagined the human subconscious into a labyrinth of color-coded videogame worlds. However it’s the core of Interstellar that presents a change of pace from his oeuvre: it doesn’t just contend that love is real; the film argues that it’s an evolutionary necessity.

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