In order for Helena to survive the lengthy mission they had to leave, but that was 3 years ago. As we learn from an old video she watches, her parents were originally meant to accompany her every step of the way on this mission to a faraway planet, but a technical glitch caused a shortage in the oxygen supply. It’s a sad, lonely existence, but she makes the best of it, working out, watching old black & white movies, seeing to her hydroponic plants. The plot starts out like a gender-swapped Moon: a young woman, Helena (Clara Lago), lives alone in a space capsule and occasionally interacts with the kindly computer AI running everything. There’s no Chris Pratt counterpart damning a Jennifer Lawrence counterpart and lying to her about it just because he was lonely, but there is…well, let’s just say there’s definitely a relationship begun under false pretenses. That is as long as you don’t get tripped up about the romance part because Orbiter 9 eventually moves dangerously close to Passengers territory.
Add in some clever futurisms, admirable production values for the minimal budget they must have had, and a compelling lead actress and you get an entirely watchable Spanish-language sci-fi romance. 40 minutes later, the nature of the lead character’s existence is completely redefined, and the somber ending somehow plays it both sinister and hopeful. At the 20-minute mark, the entire premise is thrown out the window and turned on its head. In Netflix’s current run of middling-to-terrible original sci-fi movies, Orbiter 9 at least gets the prize for taking some of the biggest swings.
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