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Astronaut Sam Bell has to hold out two more weeks, then his three-year shift at the Sarang lunar station ends and he can finally return to his wife and daughter. Sam is the only person who takes care of the breakdown of helium-3, which has meanwhile become the most important source of energy on earth. His most important contact person is the computer Gerty, who takes care of him in a caring and helpful manner. However, an accident occurs a few days before departure. When Sam regains consciousness in the infirmary, he is no longer alone. Another person is on board. He looks exactly like Sam. And that's also his name.

In contrast to many current science fiction productions, Moon looks downright old-fashioned. The computer-generated effects remain invisible and are not an end in themselves, if possible - not least for cost reasons - miniature models were used. Instead of elaborate action scenes, Duncan Jones also relies on a calm staging that additionally intensifies the oppressive atmosphere on board the cramped space station, and the set design with its angular, chunky shapes is deliberately reminiscent of genre classics of the 1970s such as Silent Running, Douglas Trumbull, USA 1972) or Alien (Ridley Scott, Great Britain 1979). In addition, Moon takes up the doppelganger motif, which plays a central role in the two Solaris films (Solyaris, Andrei Tarkovsky, Soviet Union 1972 and Steven Soderbergh, USA 2002).

However, Moon becomes modern and relevant, especially for employment in ethics or religion classes, through his choice of topics. The film cleverly plays with the deep disquiet that arises from the appearance of the doppelganger and thus raises the question of the essence of identity and the meaning of uniqueness. At the same time, Jones also strikes a critical tone. After all, the double sams are far more than the product of a person's imagination. Rather, they are play figures in the plans of a large company that turns people into pure material, programmable and controllable - and which, as always, did the math without the burgeoning consciousness. In addition to such philosophical or technology-critical aspects, Moon as a contemporary science fiction film also invites you to take a look at the history of film, for example in German / English or art, to deal with typical motifs and storylines of the genre with regard to the respective time of origin.
Author: Stefan Stiletto, July 9th, 2010

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