Director Mikael Håfström invites viewers into the labyrinthine psyche of an astronaut on a mission to Titan in the psychological sci-fi thriller, “Slingshot” (Image credit: Bleecker Street).

For decades, Hollywood has captivated audiences with mind-bending space thrillers set against the backdrop of the vast, indifferent cosmos. This genre reached a pinnacle with Stanley Kubrick’s “2001: A Space Odyssey,” where an existential mission to Jupiter becomes a profound exploration of human consciousness.

In a nod to Kubrick’s masterpiece, “Odyssey 1” is also the name of the spaceship in Håfström’s latest film, “Slingshot.” This feature, crafted by the director known for “The Rite” and “1408,” follows three astronauts on a journey to Saturn’s moon Titan. As they travel 1.5 billion miles, one astronaut’s hallucinations, triggered by hibernation drugs meant to ease the grueling voyage, plunge the crew into a nightmarish reality.

Filmed primarily in Budapest, Hungary, Bleecker Street’s “Slingshot” is an intense exploration of isolation and mental unraveling. The protagonist battles paranoia and anxiety as they navigate a gravity-assist maneuver around Jupiter, a critical course correction. The audience is left questioning what is real right up until the final, enigmatic scene, which promises to fuel debates long after the credits roll.

The film stars Academy Award-winner Casey Affleck (“Manchester by the Sea”) as John, one of the three daring astronauts. He leaves behind his romantic partner Zoe (Emily Beecham) on Earth for a multi-year mission. John’s recurring dreams revisit their early relationship, adding layers of emotional complexity as his grip on reality weakens within the confines of the starship.

Laurence Fishburne, renowned for his roles in “Event Horizon,” “The Matrix,” and “Passengers,” portrays Captain Franks. He is a commanding presence who strives to keep the crew grounded during their hibernation periods until they complete their slingshot maneuver around Jupiter. Their goal: reach Titan and search for valuable methane gas.

Tomer Capone from “The Boys” rounds out the main cast as Nash, the nervous co-pilot. The journey becomes perilous when the spacecraft suffers damage, forcing the crew to make urgent repairs. Tensions rise as they debate the safety of their mission under such dire circumstances, leading to violent conflicts.

For those seeking clues about the film’s deeper narrative, consider the Sam Rockwell-led “Moon,” penned by one of “Slingshot’s” screenwriters, Nathan Parker. Parker collaborates with R. Scott Adams (“Donner Pass”) to deliver a low-budget sci-fi gem that resembles a David Mamet-style stage play, focusing intensely on its three main characters.

“Slingshot” echoes themes from Håfström’s 2007 horror film “1408,” where an author faces a harrowing night in a haunted hotel room, descending into madness. This time, Håfström replaces the haunted hotel with a confined spaceship en route to Titan, letting claustrophobia and psychological instability weave their disorienting spell.

Cinematographer Pär M. Ekberg (“Polar”) and production designer Barry Chusid (“2012,” “Serenity,” “The Day After Tomorrow”) create a stark visual atmosphere within an antiseptic white environment aboard the ship. This setting amplifies the uncertainty and fluctuating perspectives as the ship trembles through space.

Håfström’s effort in “Slingshot” might not revolutionize the sci-fi genre but offers enough intrigue and narrative manipulation to engage audiences. The committed cast brings depth to this mysterious journey through sci-fi madness.

As a summer release for those seeking escapism, “Slingshot” completes its mission with flair.