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Real science fiction is about ideas, which means that it is rarely seen on movie screens, which are commercially minded canvases that are more at ease with sensation and spectacle. This is because real science fiction is about ideas. What you get from movies is more often something that could be called “science fiction-flavored product.” This refers to a piece of work that has a few of the superficial trappings of the genre, such as futuristic production design and somewhat satirical or sociological observations about humanity, but that eventually abandons its pretense for fear of alienating or boring the audience and gives way to more conventional action or horror trappings, forgetting about whatever made it seem unusual to begin with. What you get more often from books is
The novelist and screenwriter Alex Garland (“28 Days Later,” “Sunshine”) made his directorial debut with the sci-fi film “Ex Machina,” which stands out as an exceptional and welcome departure from the norm. It begins as a sinister thriller about a young programmer (Domhnall Gleeson) who becomes enamored with a charismatic figure resembling Dr. Frankenstein (Oscar Isaac). Slowly, the young man learns that the scientist’s zeal to create artificial intelligence has a troubling, even sickening personal agenda. But even as the revelations pile up and the screws tighten and you start to sense that terror and violence are inevitable, the movie never loses grip on what it’s about; this is a rare commercial film in which every scene, sequence, composition, and line deepens the screenplay’s themes; as a result, when the bloody ending arrives, it seems less predictable than inevitable and right, as it does in myths, legends, and Bible stories. This is a rare commercial film in which every scene,
Alicia Vikander plays the role of Ava, a prototype of a “female” robot that the scientist, played by Oscar Isaac, has tasked Caleb, played by Gleeson, with interacting with in order to determine whether or not she actually possesses self-awareness or whether it is just an incredible simulation. Caleb has been brought to the scientist’s remote home/laboratory in the forested mountains. The events of the story, which take place in and around Nathan’s stronghold, are emotionally and geographically close, and can at times feel suffocating. This ultra-modern bunker, complete with all the trappings of a swinging bachelor, is completely cut off from the rest of the world. Caleb’s restricted key card does not provide access to a good number of the building’s rooms. The narrative adheres to the same level of exactness throughout its entirety. Although the claustrophobic setting will inevitably remind viewers of another classic of shut-in psychodrama, Stanley Kubrick’s film of “The Shining,” Caleb’s conversations with Ava are presented as discrete narrative sections, titled like chapters in a book. Scenes between Caleb, Nathan, and Nathan’s girlfriend (or possibly concubine), Kyoko (Sonoya Mizono), a nearly mute woman who seems fragile and who hovers near the two men in a ghostly manner, are interspersed throughout these sections.
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I’m going to make an attempt to summarize “Ex Machina” in broad strokes because the movie is so chock-full of twists and turns, the vast majority of which are motivated by the characters and make sense in hindsight. Nathan is an almost satirically specific type. He is a brilliant man who created a revolutionary new programming code at the age of 13 and went on to found a corporation that is similar to Google. He then funneled profits into his secret scheme to create a synthetic person that is physically and psychologically credible, specifically a woman. This is a classic example of a nerd fantasy, and in some ways, the movie “Ex Machina” can be thought of as “Stanley Kubrick’s Weird Science.” Nevertheless, despite the fact that it is a film in which two of the four main characters are women playing subservient roles, and despite the fact that it is made clear that Nathan’s realism test will include a sexual component, the movie does not give the impression that it is exploiting the characters or the circumstances in which they find themselves. The movie maintains a scientific detachment even as it brings us inside the minds and hearts of its people, beginning with Caleb (an audience surrogate with real personality), then embracing Ava, then Nathan (who is as screwed-up as he is intimidating), and then finally Kyoko, who is not the cipher she initially seems to be.
Ex Machina Quiz
The screenplay for “Ex Machina” is a stunning continuation of Garland’s previous work as a screenwriter. Garland has shown a significant interest in the structure of society, the conflict that exists between the need for rules and the abuse of authority, and the way that gender roles that have been handed down for thousands of years can taint otherwise pure relationships, beginning with Danny Boyle’s “The Beach,” which was based on his novel, and continuing through two more collaborations with Boyle, “28 Days Later,” and “Sunshine,” and the remake of “Judge Dredd.” The conclusion of “28 Days Later” takes place in a makeshift military base, where soldiers have armed themselves to fight off hordes of infected citizens. As soon as the heroes are accepted into their group, they immediately reveal themselves to be overbearing monsters with the intention of robbing the tomboyish women in the group of their autonomy and training them to serve as concubines and breeders while wearing frilly dresses in an alternate reality version of “traditional” society. In that zombie movie, it was the soldiers who were the true zombies, not the infected people; the movie was a critique of masculinity, particularly the toxic kind of masculinity.
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In a similar vein, the film “Ex Machina” focuses a lot on the dynamics between men and women, specifically how their identities are shaped not only by biology but also by the biologically dominant society. The nerd stereotype is actively challenged by Nathan, who acts like a frat house alpha dog, works out with a heavy bag, drinks to excess, disco dances with his girl in a robotically choreographed routine, refers to the soft-spoken and sensitive Caleb as “dude” and “bro,” and reacts with barely disguised contempt when Caleb expresses empathy for Ava. Nathan also works out with a heavy bag, drinks to excess, disco dance It is bad enough that Nathan has any interest in playing God; it is even worse that he wishes to re-create femininity through the use of circuitry and synthetic flesh. It appears that lad magazines, video games aimed at eternal teenagers, and the most juvenile examples of “adult” science fiction and fantasy have all contributed to his conception of women.
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As Ava plays a more significant role in the narrative, the movie takes on more of a film noir feel. Nathan plays the role of the controlling husband or father that is common in these types of movies, Caleb plays the role of the aimless drifter who is hopelessly in love with her, and Ava plays the role of the damsel in distress who is definitely in a difficult situation but is not as helpless as she initially seems (though we are kept guessing as to how capable she is, and whether she has the potential to be a femme fatale). The most tense parts of the movie are the quiet conversations that take place while the power is out at the facility. This is when Ava confesses her terror to Caleb and asks for his assistance against Nathan. We are unsure how to respond to her pleadings at this time. Despite the fact that she has a limited emotional bandwidth, she appears to be in a state of genuine distress, but we are always aware that Nathan created her. It’s possible that her scenario is just another level in the simulation, or it could just be another projection of Nathan’s warped sense of machismo. There is also witty commentary, which is entirely conveyed through images, which suggests that “traditional” femininity is as artificial and blatantly constructed as any android siren. This causes creatures like Ava to appear to be horrifyingly logical extensions of a mentality that has always been present. ((This movie and “Under the Skin” would make an excellent double feature, but it is not one that anyone who is prone to depression should watch.))
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Throughout, Garland gradually and methodically amps up the tension while never allowing the tempo to pick up the slack. In addition to this, he demonstrates a keen eye for composition, which he demonstrates by highlighting humans and robots as beautiful but unsettling figures within a sterile and sharp mural of technology. The special effects are some of the best ever done in this genre, and they are so convincing that you soon stop marveling at the way that Ava’s metallic “bones” can be seen through the transparent flesh of her forearms or the way that her “face” is affixed to a silver skull. The special effects are some of the best ever done in this genre.
Garland’s screenplay is equally impressive, weaving references to mythology, history, physics, and visual art into casual conversations. These references demonstrate that Garland understands what he is talking about, while simultaneously demonstrating that Garland is going to the trouble to explain more abstract concepts in plain language, in order to entice rather than alienate casual filmgoers. Garland’s screenplay is impressive because it weaves these references into casual conversations. The discussion that Nathan and Caleb have about Jackson Pollock’s “automatic painting” is one of the most interesting parts of the book. The performances are exceptional in every way. In particular, Isaac’s has an electrifying star quality to it; it is cruelly sneering yet in some ways delightful; it insinuates; and it is intellectually credible. When it finally comes, the conclusion offers a primal sense of fulfillment, illuminating scenes whose primal brutality is emotionally overwhelming but is justified by the events of the story. This movie has stood the test of time.
For more personality quizzes check this: Which Nct Member Are You.
