IO: A Surprisingly Successful Post-apocalyptic Sci-Fi

We have become accustomed to the fact that the authors of most sci-fi visions do not have good news for us. Our planet is facing imminent collapse, and the only viable way out of this situation, offering a chance for the survival of the human species, is escape. Not long ago, the natural direction for this escape was Mars. Now, creators more often choose increasingly exotic regions as the new home for humanity. In The Titan, it was, as expected, Titan, one of Saturn’s moons. In another sci-fi film from the Netflix platform, the chance for humanity is offered by one of Jupiter’s moons – IO.

The heroine of the film, however, has no intention of leaving Earth. Apparently, the fact of living in a polluted environment that doesn’t allow for normal life is not enough of an incentive for her to change her place of residence. This is all due to her father’s assurances, a scientist whom she trusted, and whose work she continues after his death. In theory, he assumed that life on Earth would be able to evolve again – it just needs time and patience. Faced with the decision of whether to stay on Earth or escape from it, the heroine soon meets a man who convinces her that their future is no longer tied to their mother planet.

The trailer filled me with strong skepticism about this project. I expected a sentimental story, using the simplest melodramatic tricks, leading straight into the arms of emotional cliché. In part, that’s exactly what I got. IO is a science fiction film of the type that, instead of impressing the viewer with effects, prefers to risk drawing them into experiencing a simple, sparse, sometimes even boring story. As for me, from the first minutes, I felt a connection both with the heroine and her fate. It’s very interesting that although I didn’t see anything in IO that I hadn’t already seen in post-apocalyptic cinema, the process of getting into the film was unusually painless.

Several factors contributed to this. There is something endearing about the young actress playing the main role. I had seen Margaret Qualley before in the series The Leftovers (and later in The Substance), and even then, her specific ease in acting caught my attention, which translated into an incredibly natural portrayal of the heroine’s spunk. In IO, she had a much less complicated role to play, but still, you could see in her an endearing confidence that translated into the strength of her character – a strong soul trapped in a delicate body. Also, her curiosity about the world, written on her face, fit perfectly with the story presented in IO.

The budget limitations were visible, not allowing the creators to present post-apocalyptic realities in full splendor. Paradoxically, this worked to the film’s advantage, as the subtle suggestions made through the shots were enough for me to let my imagination run wild. However, what I liked the most were the hints coming from the theme of the film. The various mythological inserts, stemming from the heroine’s fascination, added a very interesting touch to the story. It’s a shame, though, that consistency was not maintained in them – when the heroine finally realizes her dream and faces a picture in an art gallery, it would have been much better for the story if she had seen not Leda, but Io, as it would have corresponded with the title. But that’s a detail.

One observation seems key. The reason the heroine finds it so difficult to leave Earth is not just related to the desire to restore the dying natural environment. Earth is also a cultural heritage, the result of thousands of years of human activity. The admiration for art, symbolically depicted through mythological motifs, makes it clear how difficult a decision it would be to leave all this beauty behind and let it be forgotten. It’s as if changing one’s place of residence comes with the loss of part of one’s personality.

IO is surprisingly successful, though it has some weaker elements. The relatively slow, unhurried narrative, which does not hide any fireworks, may bore some viewers. However, I was able to understand the dilemmas of the characters, give myself over to their melancholy, and the longing for what they may soon lose forever.