A very stern Andriy Melnyk (Volodymyr Kravchuk) is on board a Ukrainian spaceship transporting nuclear waste. His only companion is a computer with a quirky sense of humour. One day, Andriy receives a message from Catherine, a French astronaut. Without going into spoilers, let’s just say that they are the last two humans alive. Their communication begins as a friendship and gradually evolves into a love story. Despite his damaged ship and the uncertainty of reaching her, Andriy embarks on a journey to meet Catherine.

This is a fine sample of Eastern European arthouse cinema. Despite its modest budget, U Are the Universe demonstrates ambitious storytelling. Its minimalist approach creates a chamber-like atmosphere, relying on a single protagonist in order to drive the narrative.

Like many space films, U Are the Universe explores the theme of loneliness. For much of the movie, Melnyk’s only interaction is with AI. The computer jokes are dark and dry. This is a journey from point A to point B – Andriy’s mission to reunite with the only other surviving human being. Over time, we witness a transformation in his character. Initially portrayed as a detached and cynical figure, he gradually morphs into an emotionally open, romantic individual. Ostrikov succeeds in crafting a compelling character arc, showcasing Andriy’s personal evolution.

At its core, U Are the Universe delves into the fundamental human need for connection, love, and purpose, even in the face of existential isolation. The film contrasts the cold, mechanical vastness of space with the warmth of human emotion, creating an intimate narrative that resonates long after viewing. Andriy’s growing attachment to Catherine, despite the immense distance between them, symbolises the universal longing for companionship in an indifferent cosmos.

Ostrikov’s approach to science fiction diverges from the genre’s traditional emphasis on spectacle. Rather than highlighting cutting-edge technology or action, he focuses on an introspective, character-driven narrative centred around a space voyage. Andriy must travel three light years in order to reach Catherine, but his ship faces a series of setbacks – running out of fuel and breaking down, leaving it suspended in the starry expanse, making multiple stops along the way. In one instance, Andriy ventures into outer space, encountering a striking pile of floating space debris – remnants of halted human activity. Ever the optimistic pragmatist, he retrieves a levitating office chair from the debris. In another moment, during a delirious state, he imagines landing on Earth. The audience is then treated to the breathtaking sight of a Ukrainian landscape, with rolling hills and expansive meadows, a vision that contrasts starkly with the vastness of space.

The spaceship itself serves as a reflection of Andriy’s emotional state – claustrophobic and utilitarian, mirroring his initial detachment. The film’s restrained visual style enhances this sense of isolation, using subtle cues in order to illustrate the protagonist’s internal journey rather than relying on flashy effects. In addition to its emotional depth, the film touches on themes of survival and hope. While the backdrop of humanity’s extinction is undeniably bleak, U Are the Universe avoids slipping into despair. The AI-generated humour offers moments of levity, ensuring that the film maintains a delicate balance between existential dread and optimism. This tonal contrast is one of its strengths, allowing for a thoughtful exploration of profound themes while retaining its emotional warmth.

Cultural nuances further enrich the film, particularly through Melnyk’s passion for Ukrainian funk, which serves as both a personal connection to his homeland and an expression of identity. The inclusion of music humanises the character, reminding the audience that even in the isolation of space, cultural and personal identity remain essential.

U Are the Universe stands out for its seamless blend of romance, humour, and philosophical musings, highlighting Ostrikov’s directorial vision. Despite its modest budget, the film achieves an emotional richness that far surpasses its financial constraints. Its charm lies in the quiet portrayal of human vulnerability against the vastness of the universe. While the plot may not break new ground, the film’s thoughtful execution and sincerity ensure it leaves a lasting impression.

Ultimately, U Are the Universe is not about exploring the infinite expanses of space, but rather the internal universe of emotions, desires, and the yearning for connection. It poignantly illustrates that even in the face of cosmic isolation, love and hope remain powerful forces that can sustain and guide us.

U are the Universe premiered at Tiff (Toronto International Film Festival).