It may be that none of the fans of the most cerebral contemporary director around thinks that Interstellar is his best film. Indeed, many of them have been disappointed. Perhaps because the tributes to Tarkovsky and Kubrick are too obvious, to the point of becoming quotes or counter-quotes; or perhaps because, apart from the complexity of the idea of wormholes, or the law of gravity, too many things are “explained” at the end. And sometimes it has the feel of “the happy American family”, especially at the beginning, when some of the dialogue is naive and condescending, sometimes a little cheesy, too Spielbergian (the director for whom the movie was originally written). This is not what Nolan fans are looking for. And the most loyal −or the fussiest−have noticed some inconsistencies in the script, yes, even a few mistakes at the scientific level, that has negated the pleasure of “mechanical perfection” enjoyed elsewhere with this director. For some, even the most important Nolanian concept −the love conquers all message− is considered a shortcut.

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