A group of death row inmates is offered a chance at redemption in the form of a mission to outer space to explore a black hole. Along the way, these prisoners undergo fertility experiments at the hands of a secretive doctor, played by Juliette Binoche, who wishes to create life through artificial insemination, despite the high radiation levels of the environment. In the aftermath of a nightmarishly grisly outcome, a survivor, played by Robert Pattinson, endures the daily rigors of operating the spacecraft while also caring for his infant daughter.

The science fiction horror feature, High Life, which premiered at festivals in 2018 before receiving a widespread U.S. release this year, is the first English-language directorial effort from the acclaimed French filmmaker, Claire Denis, whose previous foreign works, namely White Material (2009), excel at taking viewers to the edge of an abyss without spoon-feeding thematic undercurrents or even chronological narrative details to them. Since Denis reportedly tends not to finalize scripts until specific actors are chosen for their roles, the plots of her films take a backseat to simple people-watching, where we follow characters through their inherent flaws and uncanny triumphs alike.

This is the director's first foray into the science fiction genre, and, as per her track record of avoiding clichéd pitfalls, the end result is a claustrophobic space setting that looks anything but futuristic. The crew members of the ship, who are depicted with an uneasily revelatory camera eye that obsesses over bodily fluids and grimy close-ups, wander by unclean mechanical devices and barely-functioning electronics as they tough their way through unglamorous duties. I am reminded of the 1979 Ridley Scott masterpiece, Alien, that revolves around an assortment of blue collar workers on a used-and-abused spaceship instead of showcasing brave scientists, pilots, or warriors in spotlessly clean outfits.

Pattinson, who has reveled in offbeat cinema since the popular Twilight films introduced him to the mainstream, delivers another understated tour de force performance on the heels of the 2017 crime movie, Good Times. Binoche, who could do no wrong in classics like Three Colors: Blue and Caché, is once again in top form as a quietly sinister figure.

Mia Goth, who is featured as one of the unfortunate passengers, is quickly becoming one of my favorite actresses, thanks to her propensity to portray odd and unkempt types in films like A Cure for Wellness, The Survivalist, and the 2018 remake of Suspiria. She seems to have no concern over whether or not her roles will bring her fame, mass recognition, or prestige. There is something wonderfully refreshing about those who specifically aim for parts that interest them.

Be on the lookout for a superbly-nuanced turn from Atlanta-born entertainer André Lauren Benjamin, who is best known for his work as André 3000 in the hop hop duo, Outkast. Claire Tran, whom most audiences associate with the Luc Besson films, Lucy and Valerian and the City of a Thousand Planets, is another welcome addition to the proceedings.

This is not a particularly comfortable film to watch, but the craftsmanship of all involved makes it one of this year's best viewings.