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Clearly central to the plot of this film are Sam’s clones. They appear not only to look and behave similarly (although there may be one or two hints that they aren’t absolutely identical) but also share a core memory set, although again there may be hints that these aren’t identical (e.g. a moment of hesitation about his daughter).

TS Eliot said it is the instinct of every living thing to persist in its own being. Not just humans or animals or insects or viruses, but all living things; and from the example of ‘Moon’, we can perhaps say that Eliot’s assertion also includes clones.

Astronaut Sam Bell has a quintessentially personal encounter toward the end of his three-year stint on the Moon, where he, working alongside his computer, GERTY, sends back to Earth parcels of a resource that has helped diminish our planet's power problems.

Psychiatry and the movies have grown up together. Both were in their infancy at the turn of the century and then went on to make massive advances within the following decades. Maybe this is why they have always shared a relationship which can be described as both complementary but also hostile. Both disciplines share a voyeuristic interest in appraising the body and are particularly interested when that body does not function as it should prompting a Foucauldian approach to the analysis of psychiatric discourses in film.