At “Week Three,” folks are getting a little sweaty, despite having been told that the rudderless quest for a celestial object could well take up to two years. (The first of such images we see are of billowing aquatic plants not unlike those in an early section of Tarkovsky’s “Solaris.”)Ī sort of empath but also an independent, iconoclastic thinker, “MR,” portrayed in a tireless performance by Emelie Jonsson, at first seems to roll with the punches of Aniara’s circumstance. She’s in charge of a special room on Aniara, called the Mima, which contains large color-pulsating panels and creates a “Mima pillow” for each user, a virtual reality of their own memories. The central character here is a woman known as the Mimaroben, played by Emelie Jonsson. This film, written and directed by Pella Kågerman and Hugo Lilja, initially has a distinctive flavor of the now, or the not-too-far-from now. It has inspired more than one prog-rock album. It was adapted into an opera by Karl-Birger Blomdahl in 1959. It originated as a Swedish epic poem, in 1956, by the Nobel Laureate (as of 1974, at least) Harry Martinson. As it happens, “Aniara” is not entirely contemporary.
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