Edge of Tomorrow

In Tarkovsky’s cinematic language, which he calls sculpting in time, we race to outer space like we we’re surrendering to the pull of greater forces, as the leaf does, but partly also out of sheer exuberance, like the horse does in the opening sequence. But we do so out of fear, as well, like the child sprinting away from the horse in the same sequence. Whatever the motivation for this race, you can’t elude your emotional baggage, on earth or in outer space.