Rachel (Emilia Clarke) and Alvy (Chiwetel Ejiofor) are a married couple dwelling within the not-so-distant future. Rachel is an bold worker at her tech firm, the breadwinner of the couple. Alvy is a passionate botanist, educating the uninterested youth about nature whereas greedy onto the traditionalism of connecting with the bodily world moderately than the technological one.
The world has moved on, preferring nature pods inside properties, AI therapists, and synthetic wombs. As Rachel and Alvy determine to have a baby, to go away Rachel’s work and physique unaffected by being pregnant, they go for the sought-after Womb Heart, a service of tech large Pegasus that gives the rich with removable pods to develop their infants. But all through the method, Alvy and Rachel’s philosophies relating to the expertise butt heads.
“The Pod Technology” is considerate and well timed however flat, an opaque expression of a very easy thesis. As AI advances, people distance themselves from the pure world, possessing a penchant for comfort over connection. Rachel and Alvy are stark foils of each other, a lot in order that neither actually seems like a pure character. Each line within the script feels written blatantly supposed to get the purpose throughout, to drive residence a sentiment. In flip, each dialog is compelled.
Barthes’ movie does make a valiant effort to showcase technological development versus intervention throughout your complete tradition of this new world, from home squabbles to capitalist nightmare characters like Linda (Rosalie Craig), the top lady answerable for the Womb Heart. Humanity plummets with over-commercialization and detachment in compassionate roles like motherhood and remedy.
Pegasus’ pseudo-feminist rhetoric that the pods save girls from job interference and the oh-so-horrifying bodily modifications is one other considerate inclusion exhibiting that capitalism and humanity by no means intersect. Nevertheless, these concepts are explored with a stark script moderately than emotional expression, so each assertion is absorbed intellectually however by no means emotionally. The strain between Rachel and Alvy is inauthentic, like a prop for a principal concept moderately than an empathetic cornerstone it posits to be.
Clarke and Ejiofor are as dejected because the movie itself. Although the script doesn’t afford them a lot to work with aside from a guidelines of dialogue that appears to test that the viewers is greedy the premise incessantly, no chemistry between them would lead us to consider they’re a pair, even with philosophical points apart.
“The Pod Technology” vans ahead like a protracted hike, with wide-eyed introductory ambition that rapidly turns to a drained drag to the end line. The set design and cinematography are the movie’s solely grounding points. This new however close to world has a dystopian magnificence in its panorama, nevertheless it doesn’t save the movie from being a middling try at a pointed social file. Barthes’ movie has potential however merely seems like an concept in its early phases.
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