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The Post-Human Beauty of F1
How director Joseph Kosinski captured the terror and allure of a world that doesn’t need us anymore.
The director has always been captivated by the relationship between humans and technology, and this idea appears early in F1 through the film’s initial presentation of rookie driver Joshua Pearce (Damson Idris), a young man surrounded by the latest in high-tech gear. It’s all supposedly the same game, but now the negative space has become existentially charged: Coupled with a story line about digital avatars who seek to replace the humans in whose images they were shaped, the movie possesses an aching sense of oblivion. In the visually striking finale, Cruise’s character travels on a suicide mission to a space station hovering above Earth and enters the alien force’s lair — which is basically a giant hall, somehow more terrifying for its enormous emptiness.
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