Written by Aylu Girard for Magdalena Olszanowski’s Cinema and Communications: Selected Topics course

“We used to look up at the sky and wonder about our place in the stars. Now we just look down and worry about our place in the dirt.” – Interstellar

Interstellar directed by Christopher Nolan (2014) and Greenland directed by Ric Roman Waugh (2020) are both films that highlight human perseverance in the face of an apocalyptic crisis. Both works demonstrate how people need each other to survive and that there is no place for individualism in a balanced, nature-harmonious world. Human selfishness is the reason for the Earth’s destruction as we only think of ourselves and what we need, rather than what is necessary. Both Interstellar and Greenland are thrillers that highlight how individualism leads to destruction of nature as well as of ourselves, but also shows that humanity acting as a collective is what allows us to nurture nature and learn from past mistakes. It incites us to think critically about the current conditions we live in and to act towards the betterment of the Earth and humanity.

The characters’ varying views on nature are presented through the narrative of Interstellar as their mission is to seek a substitute planet for the Earth while Professor Brand (Michael Caine) solves the quantum equation that will allow them to save the rest of humanity back on Earth. As critic Micheal Svoboda states in a review, “Humanity must look elsewhere, the film seems to argue, because Earth is no longer a reliable provider” (Svoboda 13). This is due to years of humans dominating and excessively consuming nature’s resources, leaving the Earth to be beset by blight and dust storms and resulting in food shortages and lack of oxygen. Aboard the Endurance ship, Cooper (Matthew McConaughey) asks Brand’s daughter (Anne Hathaway), “You don’t think nature can be evil?,” alluding to the danger of their journey. She replies, “No. Formidable, frightening, but not evil,” reflecting the ignorant naivety humans have towards nature (Nolan, 00:52:00 – 08). It concisely articulates how humans never believe they will be facing punishment equating to their actions. Despite everything humans do to nature, we always seem to believe or “know” that nature will take us back into its arms. However, Cooper understands that nature can be formidable and punishing towards humans just as we are to it. Earlier in the film, he speaks to Professor Brand about how they have reached the current state of the planet and Brand senior says, “Driven by the unshakable faith, the Earth is ours.” Cooper responds, “Not ours, but it is our home” (Nolan, 00:29:08 – 18). Cooper’s perspective is representative of the part of humanity that is aware that we are responsible for the Earth’s current state and recognizes that nature is beyond them and cannot be owned. 

In Greenland, the characters’ views on nature shift gradually through the unfolding mise-en-scene as the nine miles long interstellar comet Clarke is set to destroy the Earth. Initially, Clarke – nature – is viewed as a source of entertainment for humans; the Garritys gather with their friends and neighbours to watch a fragment fall in the Atlantic Ocean, although it does not come. John (Gerard Butler) anxiously steps outside to see a vast flock of birds fleeing and is then hit by a huge shockwave that rattles the earth, breaking houses’ windows. When John goes back inside to his alarmed friends, the news programs show that the comet landed on Tampa, Florida, vaporizing the state, and everyone is made aware of their vulnerability in face of nature. The previously happy, peaceful atmosphere has turned ominous and all are understandably afraid. Furthermore, the fear is intensified as the state of the earth shifts in only a couple of days, with the increase in meteor fragments falling from the now ashen, amber sky, and the chaotic frenzy of people packing their belongings, hitting the road, or even vandalizing stores. Instead of nurturing nature in its last moments, humanity further exploits and attempts to control it, which ultimately accelerates its destruction. 

To continue, both films present how detrimental to humanity and nature acting individually is, even in the circumstances of an apocalypse. In Interstellar, this is shown through Dr. Mann (Matt Damon), fully named Hugh Mann (“human”), who is the epitome of humanity’s selfish and individualistic nature. As Emily Li of the Los Angeles Times High School points out, “When Cooper’s team arrives, he tells them that his planet is habitable to ease their wariness, then attempts to kill Coop in order to take off in their spaceship alone” (Li). Mann demonstrates how, when in an apocalyptic crisis, human survival instincts lead us to act selfishly to prioritize ourselves rather than the collective. Earlier in the film, when the team learned of the monstrous lie that Professor Brand fabricated about the equation to save the rest of humanity, Dr.Mann answers, “He knew how hard it would be to get people to work together to save the species instead of themselves. […] We can care deeply, selflessly about those we know, but that empathy rarely extends beyond our line of sight” (Nolan, 01:43:12 – 33). This highlights a problem within today’s society; we tend to care more about what is ours, what we need, and what we want instead of what is sufficient for everyone. This phenomenon is what has led to the Earth’s current state as humans selfishly continued to take from it. Ironically, Mann does not acknowledge this in his own behaviour and proceeds to try and steal the Endurance ship. Paradoxically, he believes to be acting for the rest of humanity – the collective – through the selfish and individualistic natures he criticized earlier, proving his own statement to be true. 

In Greenland, this is portrayed by the government selecting who is worthy enough to access the bunker and the violent divide this creates. John Garrity is chosen for his career, which allows him to bring his family to the military base where planes will take them to “Greenland.” Military men block passage to a horde of desperate people wishing to survive with the warning: “Only selectees will gain entrance. If you were not selected, do not approach the gate” (Waugh, 00:26:45). John shouts, “We were selected!,” to which an officer responds, “I need your ID and barcode” (Waugh, 00:27:13 – 00:28:08). John provides his identification and the officer allows him and his family further passage to their designated hangar. However, his diabetic son is later denied entry for his illness, reiterating the selfish idea of the strongest being able to survive and being allowed survival. This portrays how systems established by the government for the “greater good,” force people like the Garritys to act selfishly to save themselves; to consider themselves only, until one of them is unlucky. Additionally, this depicts humanity’s lack of empathy for the environment as their sole focus becomes survival. The forgotten, terrified mass behind the metal fences highlight the horrifying dystopian reality that awaits us if we were ever to face such circumstances. 

Finally, both in Interstellar and Greenland, the love of a collective is presented as a nurturing, powerful force that could overcome anything and save humanity. The collective is demonstrated through families like Cooper’s and John’s, as both represent humanity’s empathetic, sensible, and responsible side. Cooper goes on the mission so that he can provide a better future for the world, his son, and, most importantly, his 10-year-old daughter Murph who is against his departure. Cooper tells Murph, “Once you’re a parent, you’re the ghost of your children’s future.” Murph replies, “You said ghosts didn’t exist.” Cooper nods, “I can’t be your ghost right now. I need to exist. They chose me” (Nolan, 00:38:11 – 38). Cooper views his action as part of a collective effort, rather than an individualistic one, justifying to Murph that his absence is to ensure she has a better future. However, this separation is followed by countless obstacles on Cooper’s journey, leaving him dead, adrift in space. It is only when they reunite through complex scientific time travel, at the end of the film, that adult Murph (Jessica Chastain) manages to solve the equation to save humanity as well as her father who was lost in space – the natural world. This shows that working alone is not the solution to saving the world, but that working together is. Their love for each other and the collective is what saves the past, present, and future. 

Similarly in Greenland, it is John’s love for his family and sensible character that allows them to survive the apocalypse. “How long is this going to be awkward for?,” John asks at the beginning of the film. “I don’t know, John. It’s not like I’m trying to make it that way,” responds Allison (Waugh, 00:05:18 – 26). Although John’s marriage with Allison is strained, the circumstances force them to ignore their differences, to do their best for their son, and to  gradually realize that both still love each other. Critic Hunter Heilman writes, “There is a genuine sense of family that this trio has that many disaster films don’t care to expound upon, leaving many to wonder why we should even care” (Heilman). Family, unity, and love are what push them to survive. Nine months after the explosion occurred, the bunker’s doors finally open, revealing the sun rising over an ash-covered landscape. Even so, a bird is flying in the distance, signifying that there is still hope for the world and for nature. Both Cooper and John’s families are ecosystems that need each other to survive; the ecosystem dies if a piece is lost. Concededly, if nature dies, humanity dies.

To conclude, both films highlight how humanity’s lack of empathy for nature and outright mistreatment results in humanity’s own undoing. Yet, both films argue that if we begin to nurture nature, work together, and push aside selfish, individualistic ideals, humanity and nature can thrive. “We need to conceive of certain types of human uses of nature as not abusive. Modification and alteration of nature need to be distinguished from controlling and dominating nature” (Hettinger 114). Humanity can only positively “reap what they have sowed” by finding a balance between themselves and nature. To live harmoniously, all must go beyond human nature. 

Works Cited 

Heilman, Hunter. “Eco-Disaster ‘Greenland’ Is a Thrilling, Emotionally Engaging Film That Puts Character over Spectacle.” Elements of Madness, 8 Feb. 2021, elementsofmadness.com/2021/02/08/greenland/.

Hettinger, Ned. “The Problem of Finding a Positive Role for Humans in the Natural World.” Ethics and the Environment, vol. 7, no. 1, Spring 2002, pp. 109–23. JSTOR, www.jstor.org/stable/40339026.

Li, Emily. “Review: Human Nature vs. Moral Obligations in ‘Interstellar.’” Los Angeles Times High School, 2 Nov. 2021, highschool.latimes.com/the-webb-schools/review-human-nature-vs-moral-obligations-in-interstellar/.

Nolan, Christopher, director. Interstellar. Paramount Pictures, 2014. 

Svoboda, Micheal. “Interstellar: Looking for the Future in All the Wrong Spaces.” YALE Climate Connections, pp. 13-20, 12 Nov. 2014, yaleclimateconnections.org/dl/YCC_2014_Svoboda_TheCompleteCli-FiSeries.pdf.

Waugh, Ric Roman, director. Greenland. STX Entertainment, 2020.