Zur Front

24. Oktober 2017

Blade Runner 2049

It would be unfair to say that Blade Runner 2049 feels like an Abrams film, although the rather bad habbit of quoting dialogue and shots from the original film hasn't spared this one, but for all its substance, it would be equally unfair to call this film thought provoking.

Actually, there is one noteworthy idea in this film, namely the growth of the relationship between K and his hologram girlfriend, not the Pinocchio stuff that lies so heavy on the film that I was on the verge of shouting Pinocchio into the theatre when it came to naming K, no, I mean the actual stages: first only in his apartment, then everywhere, then physically present, the relevance being that people would probably buy a girlfriend who grows like that, if there was such a product, that is to say that people have become obsessed with creativity, with seeing their ideas develop and they're partially willing to sacrifice reality for it.

However, that is the only thought of any contemporary relevance in the film and the film buries it later on when it's being generalised to hearing, what you want to hear.

Now, in order for something to be of contemporary relevance, it quite simply has to move somebody's heart presently, and I think the program addiction did.

All the other stuff however doesn't ask from the perspective of a human being, but from the perspective of someone, for whom human beings are a closed book.

The original Blade Runner film asked, whether, when we created consciousness, we might end up creating monsters, and Rutger Hauer acted that to perfection, but the new film only asks questions like what to think of the change in behaviour caused by belief, the suggestion being that it is a form of liberating madness.

But if you don't believe and don't desire liberation then don't talk about it, for your words must thus remain empty shells.

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