LUCY IN THE SKY. The poetic GIBBERISH of science fiction from the creator of the Fargo series.

The vastness of dark space can lead to existential reflections. However, if they resemble those presented in “Lucy in the Sky”, it’s better not to look up, to avoid realizing how little we truly have to say.

As is often the case, nothing on paper suggested such a spectacular disaster. The film was directed by Noah Hawley, the creator of the TV shows “Fargo” and “Legion”, who had recently proven he could craft both wild superhero visions and realistic dramas with well-defined characters. The cast included Natalie Portman, Jon Hamm, Zazie Beetz, Dan Stevens, and Ellen Burstyn. It was a safe bet that the film would be well-received by critics, perhaps even earn an Oscar nomination. But no. “Lucy in the Sky” is poetic gibberish that no one could save from the very start. Hopefully, it will quickly fade into the void of space.

The opening captions suggest the story is based on real events. If so, I’d want to disappear if I were the person who contributed a part of themselves to this production because it’s almost unbearable to watch. Though, to be fair, the beginning is somewhat promising. The title character (played by Portman) returns from a space mission. At first, as she walks in the darkness, the camera observes Earth, glowing below. Later, as she touches solid ground, the lens captures her attempts to return to normal life. Post-space recovery isn’t easy—once you’ve seen the vastness of the stars and the insignificance of earthly existence, how do you return to it and take it seriously?

Because of this, Lucy gradually loses touch with reality, perhaps descending into madness or perhaps finally experiencing life as it truly is. She redefines her marriage, gets closer to new people in her life, but above all, is entirely focused on fighting for a chance to return to space. Like a prayer, she mutters under her breath the tasks she must complete to avoid any mishaps. In doing so, she remembers the steps of procedures that might one day save her life during work in the cosmos. But life continues around her, and she is already halfway out of its mainstream. One careless move, and Lucy might lose both her shot at space and her hold on everyday life.

Since the script is woven from banal wisdom, it’s no wonder the actors are unable to showcase their talents in any meaningful way. From the start, Hawley seems intent on making a film similar to “Legion”—detached from the usual cause-and-effect relationships, drifting toward a confusing transcendence. What worked, to some extent, in the FX series proves to be a chaotic, pretentious display of artistic visuals and weighty quotes in a feature-length format. Hawley occasionally plays with screen resolution, changes the depth of the image, and enjoys creating visual associative sequences, presumably to reflect the character’s state of mind, but what’s the point when the audience is left with a clichéd story about a marital crisis with work-related problems in the background?

It’s no wonder the actors struggle to shine in a film built on such trite wisdom. Portman has no idea how to convey her character’s broken spirit, Hamm is merely an echo of his defining “Mad Men” role, Beetz flashes by like Halley’s Comet, but the most absurd appearance belongs to Dan Stevens. His charming mustache and puppy-dog eyes are all he can offer to salvage his bland, featureless character. He mumbles, gets angry once, and that’s it. Hopefully, he was paid well!

Usually, one can find at least one positive thing in a sea of mediocrity. But with “Lucy in the Sky”, it’s hard to do so. The most frustrating part is that Hawley’s film irritates on a basic level, offering viewers no opportunity to engage with or understand the world on screen. The director dreamed of creating a cosmic, quasi-hallucinogenic trip that hovers between dream and reality, and in a way, he succeeded. Unfortunately, he embarked on that journey alone.

Or perhaps experiencing “Lucy in the Sky” depends on the viewer’s state of mind. Maybe it’s worth following the first association the title brings to mind—the Beatles song “Lucy in the Sky with Diamonds”—and chasing after the beautiful lady with the sun in her eyes to see Hawley’s film in a more favorable light.