‘Danny Boyle’s Sunshine (2007) opens with the somewhat flamboyant premise that the sun is dying and must be reignited by a nuclear weapon. While already unique within sci-fi films for its singular focus on the sun itself, what begins as an otherwise truly mesmerizing offering to the sci-fi canon takes an (in)famously genre bending turn in its third act which has left audiences divided ever since. Ultimately, by highlighting the symbolic proximity between the atomic bomb and the sun as well as its care and curiosity towards its characters, the film succeeds in exploring the sun as an object of need, desire, and even obsession.’
– Gray Wielebinski