Books like Interstellar by Christopher Nolan

Andy Weir’s debut science‑fiction bestseller follows astronaut Mark Watney, stranded on Mars in 2035, as he uses ingenuity to survive.

In the 29th century, humanity’s vast Hegemony spans dozens of worlds connected by farcaster portals, while the enigmatic Shrike guards the Time Tombs on the lone planet Hyperion. A diverse pilgrimage of chosen individuals must each recount why they were summoned to witness the tombs’ reverse time cycle.

Ender Wiggin, a young military prodigy, faces a second alien war and must set aside his fears to broker peace with humanity’s new extraterrestrial allies.

In a global international mission, scientists use radio astronomy to intercept a mysterious extraterrestrial signal, setting off a race to decode the message that will change humanity’s view of its place in the universe.

A soldier's harrowing journey across the stars, spanning space and time in Joe Haldeman's hard sci-fi epic war story.

Red Mars chronicles the early days of humanity’s colonization and political upheaval on Mars, blending environmental engineering, terraforming and nation‑building in a hard‑science vision.

Human survivors flee a dying Earth to a terraformed planet, only to find it inhabited by dangerous lifeforms and two emerging civilizations vying for survival.

When a secret agency of temporal engineers rewrites history to secure humanity’s future, one man rebels to protect a loved one, sparking a battle that ends the bureaucracy and restores individual destiny.

Kip Thorne, the astrophysicist who advised on Christopher Nolan’s film Interstellar, explains how the movie’s dramatic science—wormholes, black holes, and interstellar travel—is rooted in real physics.

79 pages, 4 unnumbered pages of plates : 23 cm

Maryel Locke and Charles Warren present twelve original essays by film critics, filmmakers, theologians, and philosophers that examine the 1985 film Hail Mary, directed by Jean-Luc Godard, and its companion film, The Book of Mary, directed by Anne-Marie Mieville. (The films are released under the one title Hail Mary) The interpretative essays offer a rich spectrum of analysis and opinion representing many divergent points of view about critical theory, the status of women, and the value of film as a medium. Locke and Warren also include two important interviews with Godard, brief biographies and complete filmographies of Godard and Mieville, a shot breakdown of the two films with the English subtitles, and the script of the French dialogue to complete a remarkably comprehensive treatment of these important films. The only film based on the biblical story of the Virgin Mary, Godard's Hail Mary is a contemporary Swiss/French representation of Mary's virgin pregnancy, the birth of her son, and her relationship to Joseph and her young child. Mieville's companion film is about a young girl named Mary whose parents get a divorce. While neither film is overtly religious, the initial release of Hail Mary brought public protests, court cases, a physical attack on Godard, and condemnation by the Pope. An insight emerging compellingly from the volume as a whole is that the camera, which possesses the capacity to invoke the mystery of human sexuality, itself partakes of, incarnates, the mystery of sexual difference. That is a fundamental fact about the medium of film, but a fact that current film theory, with its incessant identifications of the camera as masculine, denies. This is the central claim that, in the context of contemporary film study, gives the book a sharp critical edge and that seems likely to provoke considerable comment within the field.

A collection of Monty Python's most iconic sketches, songs, and gags, introduced by the comedy troupe itself.