A solid entry in a genre that is likely to grow exponentially over the next few years, Guy Moshe’s LX 2048 explores how hypothetical advances in virtual reality, cloning, AI, and the digitization of biological brains will change the way people deal with family and emotional relationships. Yes, it’s a long list of sci-fi topics, and we haven’t even covered the content of the picture in terms of climate change, pharmaceuticals, and demographic change.
But while the movie can feel overwhelming at times, the relatable Moshe’s script struggles with changes that, after all, are working out so well in the real world – and starring James D’ Arcy displays the anxiety and self-righteousness of a man fighting to retain some increasingly shaky notions of “real” life.
Another serious mindset will tackle the questions we may be facing sooner than we think.
D’Arcy’s Adam Bird was a father of 3 at a time (2048) when most people accepted that bringing children into existence wasn’t the kindest or smartest thing to do. Realizing the need for young workers to support an aging population, the government established a new insurance program called Premium 3, for parents of 3 or more children: If If you or your spouse died during your childbearing years, a copy will take your place. One has all the memories and knowledge needed to raise those children. And to sweeten the deal for your grieving partner, they have the option to make a little “tweak” to the replacement, making the new you look better, more thoughtful, or smarter.
Even before she catches him having sex with a virtual lover (a rudimentary sex doll connected to an attractive AI he can see through a virtual reality headset) and chasing When he’s out, Adam’s wife, Reena (Anna Brewster), probably has a lot on her mind. the adjustments she will make to her husband.
While nearly all humans have moved to nocturnal, staying away from the sun’s rays so intensely that it can burn skin instantly, Adam is still determined to work during the day. He also prefers face-to-face interactions over meeting people in The Realm, a VR world where other people spend almost all of their time. And he won’t take his daily dose of LithiumX, the drug everyone else uses to numb the circulating depression. So when Adam learned he had terminal heart disease, he certainly realized that the news wouldn’t be all bad for his estranged wife.
Supposedly, he can keep his company alive long enough to keep the policy in force. He works in VR, an industry that is dying because “everything works” – moving into a purely digital future in which consciousness exists only in computers.
That’s not the end of the movie’s mandatory presentation, but we’ve reached the point where the subsequent synopsis will spoil some movies. Starting off pretty bad, Adam grows increasingly desperate as he tries to convince the sad Reena to sit down for a heart-wrenching “I’m dying”.
In his pursuit of how to deal with what was happening, he found the “father of human cloning,” Delroy Lindo’s Donald Stein, and knew there might be more options than he had considered. Adam is able to bring his AI lover, Maria (Gabrielle Cassi), into the physical world. Programmed to worship him, she could at least comfort him through his illness. Or could he join her instead, living happily on a chip?
Viewers with a low tolerance for science fiction may also be pleased with how more recent works have been refined (from several Black mirror practice to Blade Runner 2049) struggled with most of these ideas. However, for many of us, topics are tackled by this thread and other low-budget companies (like Gavin Rothery’s Storage and Michael Almereyda’s Marjorie Prime) deserve more of what they’re getting – both in terms of immediate, policy-making towards AI, data collection, and big tech, and in the more rudimentary way that science fiction has can do.
While LX 2048 equally unsatisfied on all fronts, has it been more than successful enough to add to where we’re going? curriculum.
Production company: Chimera Pictures, Lituanica Films
Distributor: Quiver Distribution
Actors: James D’Arcy, Anna Brewster, Gabrielle Cassi, Delroy Lindo
Director and screenwriter: Guy Moshe
Producers: Guy Moshe, Karolis Malinauskas, Linas Pozera, Matthew G. Zamias, Pedro Tarantino
Executive Producers: Dragos Vilcu, Egidijus Jakavonis
Director of Photography: thomas Buelens
Production Designer: Paulius Seskas
Costume designers: Flore Vauville, Jouzas Valenta
Music: Sarah Decourcy, Ian Richter, Erez Moshe
Editor: Guy Moshe
Actor: Daniel Hubbard
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