The Midnight Sky
There's a universe between all of us.
2020 | 118m | English
Popularity: 5 (history)
| Director: | George Clooney |
|---|---|
| Writer: | Lily Brooks-Dalton, Mark L. Smith |
| Staring: |
| A lone scientist in the Arctic races to contact a crew of astronauts returning home to a mysterious global catastrophe. | |
| Release Date: | Dec 10, 2020 |
|---|---|
| Director: | George Clooney |
| Writer: | Lily Brooks-Dalton, Mark L. Smith |
| Genres: | Drama, Science Fiction |
| Keywords | based on novel or book, nuclear radiation, space travel, post-apocalyptic future, arctic polar circle region, end of the world, cancer, astronaut, space exploration, space adventure, spacewalk, 2040s, space walk |
| Production Companies | Truenorth Productions, Smokehouse Pictures, Syndicate Films, Anonymous Content |
| Box Office |
Revenue: $70,018
Budget: $0 |
| Updates |
Updated: Feb 03, 2026 Entered: Apr 13, 2024 |
| Name | Character |
|---|---|
| George Clooney | Augustine Lofthouse |
| Felicity Jones | Sully |
| David Oyelowo | Adewole |
| Caoilinn Springall | Iris |
| Kyle Chandler | Mitchell |
| Demián Bichir | Sanchez |
| Tiffany Boone | Maya |
| Sophie Rundle | Jean |
| Ethan Peck | Young Augustine |
| Tim Russ | Mason Mosley |
| Miriam Shor | Mitchell's Wife |
| Lilja Nótt Þórarinsdóttir | Frantic Woman - Katherine |
| Hanna María Karlsdóttir | Older Woman |
| Atli Óskar Fjalarsson | Soldier |
| Tia Bannon | Jasmine |
| Grant Crookes | Scientific Beneficiary (uncredited) |
| Name | Job |
|---|---|
| Lily Brooks-Dalton | Book |
| Leifur B. Dagfinnsson | Line Producer |
| Mark L. Smith | Screenplay |
| Martin Ruhe | Director of Photography |
| Stephen Mirrione | Editor |
| James D. Bissell | Production Design |
| Rachel Tenner | Casting |
| Jenny Eagan | Costume Design |
| Alexandre Desplat | Original Music Composer |
| Lilia Collar | Digital Compositor |
| Andrea Cracknell | Hairstylist, Makeup Artist |
| John Flemming | Key Grip |
| Tim Browning | Art Direction |
| Claire Fleming | Art Direction |
| John Bush | Set Decoration |
| Lee Grumett | First Assistant Director |
| Jo Tew | Second Assistant Director |
| James J. Reid | Second Assistant Director |
| Siggi Kjartan | Second Assistant Director |
| Jamie Graham | Third Assistant Director |
| Pierce Bowman | Props |
| Orin Beaton | Boom Operator |
| Nick Docter | Foley Editor |
| Bjørn Ole Schroeder | Supervising Sound Editor |
| Randy Thom | Sound Designer |
| Danny Hambrook | Production Sound Mixer |
| Philippe Antonello | Still Photographer |
| Julian White | Gaffer |
| Katy Bullock | Stunts |
| Danusia Francis | Stunts |
| David R. Grant | Stunts |
| Paula Casarin | Script Supervisor |
| Magnus Thulin | Line Producer |
| Patsy Bouge | Post Production Supervisor |
| Helen Jarvis | Supervising Art Director |
| George Clooney | Director |
| Leff Lefferts | Sound Effects Editor |
| Paul Herbert | Stunt Coordinator |
| Mark Bakowski | Visual Effects Supervisor |
| Graham Page | Visual Effects Supervisor |
| Nataša Nikolić | Makeup & Hair |
| Karsten Jacobsen | "A" Camera Operator, Steadicam Operator |
| Leonard Woodcock | Stunts |
| Julia Dehoff | Other |
| Chris Lawrence | Visual Effects Supervisor |
| Chris Lyons | Special Effects Makeup Artist |
| Lucy Rands | Casting |
| Matt Kasmir | Visual Effects Supervisor |
| Max Solomon | Animation Supervisor |
| David Watkins | Special Effects Supervisor |
| Name | Title |
|---|---|
| Barbara A. Hall | Executive Producer |
| Bard Dorros | Producer |
| Cliff Roberts | Producer |
| Todd Shuster | Executive Producer |
| Keith Redmon | Producer |
| Grant Heslov | Producer |
| George Clooney | Producer |
| Organization | Category | Person |
|---|
Popularity History
| Year | Month | Avg | Max | Min |
|---|---|---|---|---|
| 2024 | 4 | 24 | 32 | 15 |
| 2024 | 5 | 24 | 37 | 16 |
| 2024 | 6 | 24 | 45 | 11 |
| 2024 | 7 | 31 | 59 | 15 |
| 2024 | 8 | 20 | 35 | 13 |
| 2024 | 9 | 17 | 25 | 12 |
| 2024 | 10 | 24 | 57 | 10 |
| 2024 | 11 | 19 | 37 | 10 |
| 2024 | 12 | 19 | 37 | 12 |
| 2025 | 1 | 19 | 27 | 13 |
| 2025 | 2 | 16 | 27 | 3 |
| 2025 | 3 | 7 | 20 | 2 |
| 2025 | 4 | 3 | 7 | 2 |
| 2025 | 5 | 2 | 7 | 1 |
| 2025 | 6 | 2 | 5 | 1 |
| 2025 | 7 | 1 | 2 | 1 |
| 2025 | 8 | 2 | 3 | 1 |
| 2025 | 9 | 3 | 5 | 1 |
| 2025 | 10 | 2 | 5 | 1 |
| 2025 | 11 | 3 | 10 | 1 |
| 2025 | 12 | 1 | 2 | 1 |
| 2026 | 1 | 2 | 4 | 1 |
| 2026 | 2 | 3 | 5 | 2 |
Trending Position
| Year | Month | High | Avg |
|---|---|---|---|
| 2025 | 10 | 995 | 995 |
Okay, I get it: I have seen many critiques about this movie relying upon inaccurate science and featuring plot holes here and there. I admit to a bell going off in my head when our main hero Augustus seems to exhibit no death-like characteristics after diving into frigid arctic waters. But I have a ... tendency to suspend my disbelief in science fiction movies if the characters, the dialogue and the general story keep my interest. What kept me connected to the action was not the spaceship stuff, but rather the faltering, slowly developing interaction and relationship between Augustus and Iris, the girl left behind during the evacuation. It is handled patiently and believably. I found myself quite invested in them becoming close. (And I am setting aside the odd hints that Iris might not even exist outside Augustus’s own mind.) The scenes on board the spaceship Augustus is trying to contact were less compelling for me. My, those folks were consummate professionals, weren’t they? They bantered back and forth, but where were their emotions for the most part, except under extreme duress? Besides Maya, I wouldn’t have been shocked to learn they were androids. The Midnight Sky was entertaining enough to keep my interest, but it seemed to leave several questions in my mind, not the least of which was: it is well and good to send Adam and Eve to populate a new planet, but outside of serious incest, how are they to get past the first generation?