Andrew Niccol is a director with two amazing, underrated films. One is Lord of War, the Nicolas Cage vehicle from 2005 with tremendous sequences, brutal dialogue, and a swift soundtrack.

The other one is Gattaca, a sadly unseen masterpiece of science fiction. Taking a cue from Aldous Huxley’s Brave New World and Robert Heinlein’s Beyond this horizon, Gattaca’s deceptively sleek, beautiful society is a cold hearted dystopia. People can select and “optimise” the future of their children. Vincent (Ethan Hawke) is a man who wants nothing but travel to the stars, but his heart condition renders him as a “low class citizen”. Jerome (Jude Law) is perfect in all senses, but his life had no meaning and after an accident (which is later revealed to be a suicide attempt), he plots to let Vincent take his place on the space program.

What follows is Vincent’s ultra diligent routine to avoid detection as an “invalid” (a person born naturally), using Jerome’s “valid” (an in vitro baby) identity through the clever use of fake fingertips filled with blood and preserved urine samples.

Alan Arkin is a brutal detective hot on the trail of a murder and his little onscreen time is perfect. Uma Thurman shines as Irene, Vincent’s love interest, and the usually solid Xander Berkeley has a short but vital role on the movie.

Michael Nyman’s compositions are minimalistic and heartfelt. The arrival, with its wistful violin and piano accents is sorrowful, with a slight glint of hope peppered. Its sister composition, The departure, carries the motifs and delivers a dash of happiness with its crescendo. Nyman is always a “less is more” composer and both Gattaca and its soundtrack deserve your time. Proper science fiction. Proper music.

-Sam J. Valdés López