The story centers on “Aniara,” a massive spacecraft resembling a liner, which is transporting people to Mars when it's damaged by space debris. Unable to use its fuel, the ship loses propulsion and Captain "Chefone" (Arvin Kananian) informs passengers that their three-week journey might now take two years—that’s assuming they can manage to gain speed by slingshotting around another celestial body. Initially, the travelers seem content with the ship's amenities like restaurants, pools, and tanning areas, but as time stretches into months and then years, their behavior becomes increasingly primal. Creative scientist “Mima” (Emilie Garbers) attempts to create diversions to give a sense of forward motion, while also forming a relationship with the repeatedly pregnant "Isagel" (Bianca Cruzeiro), which brings both happiness and issues for them. When they learn about an approaching object, hope arises that it might be a rescue ship, but after so many years have passed, what are the chances it can save them—or that there’s anything left worth saving in this essentially mobile tomb? This film stands apart from typical science fiction fare, and Garbers carries much of the weight effectively. That's fortunate because there aren't any monsters or action sequences to provide a distraction; instead, the focus is on examining how people react when faced with despair and hopelessness. The ship creates an intensely confined setting for various characters to deal with isolation, routine, and, notably, the absence of rebellion against leadership. It’s this exploration of human psychology that proves compelling, even though the film's rhythm isn't particularly fast-paced; it does manage to affect you as it unfolds, leaving you questioning how long their artificial "world" can endure. I wasn't familiar with the Swedish poem that inspired it, so I can’t comment on its accuracy to the source material, but if Ingmar Bergman had ever directed a character study in space, this could have been it.

Source on TMDB