(THIS ARTICLE IS MACHINE TRANSLATED by Google from Norwegian)
Ex-Machina. Directed by: Alex Garland, photo: Rob Hardy Lite may be more known. Not least, it is gratifying to see good science-fiction films made with relatively simple means, such as Duncan Jones' Moon (2009) and Gareth Edwards' Monsters (2010), as they remind us that the genre relies more on solid basic ideas than on advanced special effects. When British writer Alex Garland now debuts as a film director, so too does such a film. Ex Machina introduces us to young programmer Caleb (Domhnall Gleeson) as he is picked to spend a week with the computer group's leader, famed technology developer Nathan (Oscar Isaac from Inside Llewin Davis). Caleb is thus transported by helicopter to an isolated research center far out in Alaska's wilderness, where at first it seems as if the eccentric entrepreneur is staying alone. After Caleb has signed a comprehensive declaration of secrecy, he learns that Nathan has developed a robot with artificial intelligence – and that his task in the following week is to perform a "Turing Test" on it. For those who have not seen Morten Tyldum's movie about the man behind this test, it is about finding out if a machine can think – or rather imitate thoughts – in such a sophisticated way that a human will not be able to reveal that it is a machine . The machine in question is called Ava, and is equipped with human hands, feet and face. Apart from this, a metallic body cover and transparent parts with wires and other electronics reveal that she is a robot. Ava is embodied by Swedish Alica Vikander, with an intriguing combination of sensuality and unnaturalness. Gentle, yet graceful gestures testify to an impressive body mastery on the part of the actor, who has probably been able to benefit from his background as a dancer in his role interpretation. In addition, Vikander is helped by some compelling special effects, which further emphasize Ava's artificiality. Original and copy. Through daily conversations with the interview object sitting on the other side of a glass wall (it is difficult not to get associations with Clarice Starling's meetings with the inhuman Hannibal Lecter in Nattsvermeren), Caleb tries to get to know the fascinating creature. At the same time, Ava also tries to get to know him – and eventually she gives the impression of wanting to be more than a friend. Her author, who eventually appears as a sort of IT nerd edition by Dr. Frankenstein or Dr. Moreau, can even inform Caleb that he has constructed an opening between Ava's legs that can give her sexual pleasure. And once Ava is given almost human emotions, why shouldn't these include different forms of attraction? Caleb, however, is warned that Ava – who can perceive the most subtle signs that people are lying – might conceivably exploit his growing weakness for her. The question is whether Ava's feelings are as artificial as her intelligence, or whether the imitation of life can be equated with the real thing. In parallel with Ava and Caleb approaching each other, the film's tension increases with the uncertainty of who is really manipulating who. Ex Machina is a claustrophobic, thought provoking and effectively told sci-fi thriller with many well-constructed turning points. Garland's sympathy is generally as much in the machine as in humans, in a film that is about both what it means to be human – and about the struggle of every life for its further existence. Classic issues. After Danny Boyle filmed his novel The Beach In 2000, Garland wrote the screenplay for the films 28 days later (2002) Sunshine (2007) Never Let Me Go (2010) and Dredd (2012). With its clone mathematics is Never Let Me Go (based on Kazuo Ishiguro's novel) closely related to Garland's original Ex Machina. It is nevertheless natural to compare the film with Spike Jonzes Here (2013), with his portrayal of a man who falls in love with an operating system. But you can also choose to go all the way back to Fritz Langs Metropolis (1927). The list of related movies is very long, which is mainly due to that Ex Machina addresses some classic science fiction issues – which have not become less interesting as the technology of reality has evolved.
The question is whether Ava's feelings are as artificial as her intelligence, or whether the imitation of life can be equated with the real thing.
The most obvious references are probably Steven Spielberg's AI Artificial Intelligence from 2001 (which was based on an unfinished movie project Stanley Kubrick began in the early 70s) and Ridley Scotts Blade Runner from 1982 (based on Philip K. Dick's novel Do Androids Dream of Electric Sheep? from 1968). Both explore so-called androids or robots' acquisition of human emotions, and the existential consequences of knowing that one is a man-made machine that can even be turned off. However, the most overlapping themes are found in Blade Runner, as it additionally addresses the androids' desire for independence and freedom. When Caleb i Ex Machina at one point cuts into his arm to make sure he's not a robot himself, it's almost like an echo of the uncertainty in Blade Runner about whether the android-hunting main character Deckard is a real human being. Man as God. Despite the lack of incentive scheme in this country, all of the exterior scenes are in Ex Machina recorded in Valldal on Sunnmøre, with a not insignificant Norwegian candelabra in the staff. In addition to atmospheric images of nature here, the distinctive landscape hotel Juvet serves as Nathan's research center when viewed from the outside. Alex Garland has definitely gotten a lot out of relatively few resources by making good use of these surroundings and letting the rest of the film take place in stylish interiors created in Pinewood Studios. The film's title plays on the term Deus ex machina (the last word is pronounced "makina"), which directly translated means "god from the machine". The term derives from ancient Greek tragedies, where it referred to gods who suddenly intervened to solve difficult or impossible situations in the drama. In practice, this happened by mechanically lowering actors who depicted the gods on stage, an instrument that was strongly criticized by the authorities Aristotle and Horats. Since then the concept has become tantamount to unlikely or internally illogical solutions to narrative problems that often emerge out of the blue. However, there is little in Alex Garland's coherent and cleverly constructed narrative. Thus, in the original expression, the machine represents a god. In the film, on the other hand, man tries to make himself god by creating life – but it is not necessarily given that man is the omnipotent in confrontation with the thinking machine. If you choose to read the title's "Ex" in English, it hints at the robot's most powerful engine: the desire to free himself from being someone's machine, and instead create his own life.
