When reality and fantasy collide
“Everything is great, that’s fucking awesome!”
Written by Mariane Tremblay
Written by Samuel Johnson and Connor Diedrich and directed by Steve Pink, Terrestrial is a bold and darkly funny science-fiction thriller that slowly spirals into something much darker (without ever losing its comedic edge). Inspired by Misery (1990), Parasite (2019), and the Coen Brothers’ brand of tension and absurdity, the film explores our obsessive need for validation and the gnawing fear of never being enough.
Four college friends reunite after years apart — Maddie (Pauline Chalamet), Ryan (James Morosini), and Victoria (Edy Modica) are on their way to visit Allen in L.A. From the moment they arrive, Allen (Jermaine Fowler, who gives an unforgettable performance) seems distant and preoccupied. There’s no clear explanation for his behavior, which only heightens the tension between the group. They may have once been close, but that bond is clearly no longer what it used to be.
Ryan, in particular, appears constantly on edge around Allen. He grows increasingly skeptical whenever Allen brings up his writing — especially the fact that he’s already landed a book and movie deal for a novel he hasn’t even finished. Ryan’s confusion is palpable (and honestly, relatable — how does someone afford a house like that with just an unfinished manuscript?) —“It almost feels unbelievable.”
From the outset, it’s clear something’s off with Allen. He comes across as obsessive — maybe it’s just me, but who has an entire room dedicated to their favorite movie, Neptune Cycle, and wears a costume from it? No shade, but it’s… a choice! He’s moody, distracted, and emotionally erratic. It becomes apparent that Allen might be struggling with mental health issues, which adds a layer of complexity and unease to his character. Throughout most of the film, the line between Allen’s reality and the fictional world of Neptune Cycle is deliberately blurred, creating a surreal atmosphere that keeps viewers questioning what’s real and what’s imagined. This ambiguity is amplified by James McAlister’s incredible score, which adds an eerie, off-kilter energy to every scene.
About halfway through, the film flashes back to three months earlier — and that’s when things begin to click. Without giving too much away, this shift in perspective recontextualizes everything. I found the editing and structure especially clever; the film gives viewers just enough time to question what they’re seeing before pulling the rug out from under them. You revisit many of the same moments from the first act — but from a different angle — and that reframing is what ultimately makes sense of the chaos.
Interestingly, the script wasn’t originally written to unfold in this order, but I think restructuring it this way was a bold and effective choice. While the pacing drags in a few places, the film maintains a solid overall balance.
Then, just when you think you know where it’s going, the film takes a sharp turn. I’m still not sure how I feel about the ending — there’s one particular storyline I think could’ve been cut entirely — but maybe that’s just me. It felt messy and a bit over the top, but I can’t deny I was thoroughly entertained.
Despite some flaws, Terrestrial is a fun watch, and the meaning behind the story resonated deeply. It can be tough to move somewhere new, try to get everything together, and chase your dreams in the hope of succeeding. I think that deep desire for validation — the need to be seen, understood, and recognized — is something every one of us can relate to. I also appreciated this little science-fiction touch; I left the room wanting to rewatch Galaxy Quest (1999) and Barbarella (1968) as soon as possible.
Terrestrial had its world premiere at the Fantasia International Film Festival on July 20, 2025.
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