The Weight of Grief and Navigation to Recovery as Illustrated in Alfonso Cuarón’s Gravity

by Trisha Guthman

After experiencing personal loss, one must trek down the relentless, winding road of recovery. One can feel angry, depressed, frustrated, isolated, or even hopeless while on their emotional journey, but these feelings can slowly pass as they release the blame put upon themselves and let go of the heavy burdens of the past. This concept of loss and recovery is the primary theme in Alfonso Cuarón’s Gravity. This theme is best represented in the scene where Ryan Stone lets Matt Kowalski free to drift in open space. There are many film elements that Cuarón uses to communicate his message to the viewer, but there are several that are crucial in this particular scene. Cuarón uses elements of camera angle, sound, acting, point of view, and symbols to further exude the overall theme of grief and rehabilitation.

This scene occurs after astronauts Ryan Stone (Sandra Bullock) and Matt Kowalski (George Clooney) discover their shuttle amidst the wreckage of a debris collision. All of their companions and coworkers have suffocated after being exposed to open space. Stone and Kowalski’s only chance for survival is to reach the next space station, the Soyuz. Kowalski latches himself to Stone with a cord so they don’t lose each other to the menacing depths of deep space. They then embark on a journey across open air to reach salvation. As they float, Kowalski asks Stone what life is like back home for her.

At the beginning of the scene that follows, Cuarón utilizes symbolism and camera angle to exemplify the first portion theme: grief. At 26:40, the frame depicts the cord connecting Stone to Kowalski splitting two symbolic elements: the sun and Earth. The sunrise is on one side of the rope, while the reflection of Earth is on the other. The frame changes at 26:44 as the rope leaves the screen and Stone is left staring through Earth’s reflection to see the sunrise. Earth inches into the frame as the sun disappears behind Stone at 26:47, and Stone says, “I had a daughter.” Her daily routine of driving like she did when she got the call about her daughter mirrors her inability to let go. As Stone speaks of her deceased 4-year-old daughter, her eyes are locked on Earth. In this case, and throughout the rest of the movie, the Earth becomes a symbol of Stone’s loss and emotional traumas. The sunrise, on the other hand, is a symbol of recovery and hope. Stone is forced to face the grief of her past as the reflection stays on the visor of her helmet. She cannot bring herself to turn away, just as she cannot bring herself to let go of the burden she bears. The camera angle shifts as the sunrise disappears from the frame. Likewise, Stone becomes emotionally consumed by her memories and her optimism fades. This exemplification of grief and overwhelming emotion is essential in grasping the overall purpose of the scene.

In relation to Kowalski, camera angle is also utilized in the initial frames. As Stone tells her story, Kowalski uses his mirror to look at her. In the reflection, Stone is turned upside down, which reflects the turmoil and churning emotion within her head. Kowalski has an expression of empathy on his face as the camera switches to a broader frame.  This reinforces the theme of grief as, not only the characters, but the viewer is placed within the shoes of Stone and feels her pain. The feeling of isolation is overwhelming and is a result of specific utilization of the camera angles.

Sound plays a large role in emphasizing the desolation of outer space and hopelessness that Stone is experiencing. Before Stone begins, Kowalski is playing “Angels are Hard to Find” by Hank Williams. The lyrics of this song talk about an angel to come save the writer from the heartache he is experiencing after losing a loved one. Cuarón’s decision to use this specific song is very important because it foreshadows Stone’s mourning and remorse before she begins to explain the details. The song is cut off by Kowalski after Stone states, “I had a daughter.” The silence that follows is reinforcement to the effect on the viewer. As Stone speaks, one is able to be consumed by the story and empathize deeply as the distraction of music is no longer present. Silence is supposed to be relaxing and a relief, but this film contradicts that throughout, as it only produces tension, isolation, despair, and distress.

The acting and point of view that proceed Stone’s oxygen level reaching one percent reflect an even deeper feeling grief and panic. Kowalski stays calm and objectifies the situation, telling Stone the “good news and bad news.” Meanwhile, Stone’s sadness quickly transforms into panic as she breathes quickly and heavily. Kowalski remains calm, monotone, and reassuring. These two perspectives symbolize the predicament Stone is in. She is between fright and composure and must choose what path she wishes to take. The point of view also transforms as the viewer is placed into Stone’s helmet. Kowalski’s voice is muffled by her frenzy just like her path to recovery is blurred by memory of her daughter. The theme of panic and inner struggle is clearly represented in this scene by means of acting and point of view.

Throughout the scene, the rope connecting Kowalski and Stone becomes a symbol of being tied to emotional trauma. Stone scrambles to hold onto it many times, including 28:45, 29:41, and 30:59. It is the only thing keeping her connected to Kowalski, her last partner and only means of transportation to the Soyuz. The rope begins to become a symbol for hanging on to past grievances and eventually letting those grievances go once frame 31:03 takes the screen. The sole survivors have reached their destination after a series of slips and hits and are left literally hanging by a thread as gravity pulls them away from their only hope. Strings from a parachute keep Stone connected to the ship, but the rope connecting her to Kowalski becomes a serious problem as the weight of Kowalski drags them both out further. By 32:04, Kowalski comes to terms with the situation. He decides to release the clasp and let himself float into deep space in order to save Stone. The rope is symbolic in that Kowalski was dragging her away with it. The only thing keeping them together was a simple clasp. Stone’s emotional state is in the same position as they were at 31:03. She is hanging on to sanity and salvation only by a thread. Kowalski, who symbolizes her daughter’s passing and the grief that resulted, is pulling stone into the depths of black space, panic, and depression. Her only way to let this pain go is to release the clasp in her mind that is holding her back from freedom. Therefore, the rope is a symbol of the struggle Stone faces to let go.

At frame 31:44, there is another symbol of transformation depicted on Stone’s space suit while the clap release is happening. On her right shoulder, there is a patch that has an astronaut on Earth, ascending, and finally flying in space. This is yet another, though small, reinforcement to the overall theme of recovery and overcoming obstacles.

The dialogue and acting during 31:03 until Kowalski’s release at 32:29 reinstates the theme of grief and sets the tone for the final phase: recovery. On one hand, Stone is very emotional and sensitive in this situation. Kowalski, on the other hand, remains very calm and states the facts. Stone says things like “I’m gonna pull you in” and “I’m not letting you go,” while Kowalski gives her a reality check saying, “You have to let me go or we both die.” As he lets go of the rope he says, “You’re gonna make it, Ryan.” This dialogue exhibits the push and pull of the path to recovery Stone is on. Both of their facial expressions and movements mirror their tones. Stone holds tight to the rope and gives looks of desperation, while Kowalski has an expression of assurance and moves slowly to ensure there is no panic from Stone. Therefore, the acting and dialogue during this portion reinforces the overall theme.

The camera angles during 32:56 and 34:52 act as a symbol of Stone moving toward restoration. Frame 34:33 shows Stone panicking as Kowalski lurks in the background. She gains focus of the air lock as the camera angle changes and is able to disregard Kowalski’s position. At 34:52, Stone experiences a relapse to panic when Kowalski returns into the frame’s background. Kowalski has already been defined as a symbol of Stone’s loss. Here, his presence acts as a reminder to Stone that her pain is still there. She only breaks down when Kowalski is in the frame. She can calm herself and move on when she chooses, but the guilt consumes her when she lets herself dig too deep. A prime example is 35:18 when Kowalski is panned out of the shot and Stone says, “I’m gonna make it." Camera angles here symbolizes the lurking pain and possibility of relapse if one doesn’t let themselves forgive.

As the scene progresses, the viewer hears background sounds as Stone makes her way into the ship that create panic for the viewer, further reinforcing the theme. Through the entire scene, there is ominous music playing. Stone’s heavy breathing during 32:56 overwhelms the background music, but it is still present until she reaches the air lock hatch. The soundtrack is quiet, calm, and ethereal. There is dialogue that interrupts the music. Stone relapses into denial, repeating, “I’m coming to get you,” four times. A single line from Kowalski sums up the theme: “You’re gonna have to learn to let go.” After this line, the music begins to build. It toys with the viewer’s emotions as it builds anticipation. As the anticipation grows, the viewer is left searching for relief. “Angels are Hard to Find” returns to the background as Kowalski drifts off. Stone has one final panic before reaching the hatch. These background noises all reflect the rise before the fall, the climax before the resolution. They reflect Stone’s path to recovery after loss.

The last element to reinforce the path to recovery is dialogue from Kowalski. His last words are “You should see the sun on the Ganges. It’s amazing.” This reference to the Ganges is also symbolic. The Ganges River is held in high regard within Hindu culture. For years, Hindus would bring bodies to be burned at the water’s edge in hopes that their souls would escape into a constant cycle of rebirth and gain moksha, or salvation. This reference can be directly linked to not only admittance by Kowalski, but also to Stone’s journey when Kowalski says, “You should see.” He is providing motivation to Stone as she still struggles to completely let go of her past. Therefore, this line from Kowalski is a crucial element in Stone’s path to recovery and the overall theme.

There are many film elements that Cuarón uses to communicate his message to the viewer, but there are several that are crucial in this particular scene. These elements include camera angle, sound, acting, point of view, and symbols. Through this sequence of frames, one is able to be immersed into the experience of loss and recovery. In the beginning, camera angle, symbolism, and sound reflect the first stage of grief. As the scene continues, acting, point of view, and symbols assist in deepening the feeling. Finally, recovery is represented in elements of sound, camera angle, and dialogue. Kowalski’s last words are not only advice to Stone, but advice to everyone. Learning to let go is essential in any human’s life. Alfonso Cuarón’s Gravity is a representation of not only how hard it is to do, but also how relieving it is once one takes burden off their shoulders and sets themselves free.