The Brilliant and Sinister Netflix Thriller You Can’t Get Out of Your Mind

The opening sequences of “I Am Mother” (2019) look like a legitimate margarine commercial, were it not for a few unconventional elements for such a commercial. The character referred to in the title of Grant Sputore’s film is a gynoid, an artificial intelligence device that perfectly mimics the behavior of a woman — and “imitate” is the most appropriate verb for these creatures, judging by history. progresses — and that it fulfills with all its efficiency the mission for which it was programmed: to assist the embryos of the high-tech research center for which it works, by devoting more attention to one in particular, the one that she chose herself, after a series of experiments that led to the extinction of human beings considered to be ethically and morally unfit to some degree. That is, everyone.

The robot, or rather the robot, becomes the mother of the girl, who does not even receive a name and is simply called the girl – just this argument capable of dismantling the central premise of the screenplay by Michael Lloyd Green. Mother, a sturdy aluminum structure voiced by Rose Byrne and portrayed by Luke Hawker, rendered by Weta Digital, would lose its purpose if Clara Rugaard’s Daughter didn’t exist, and that inversion is reasoning interesting, perhaps the only 1. Philosophically original by Lloyd Green. The relationship of codependency (much more of Mother to Daughter than the reverse, let’s repeat it), obviously begins to disturb the character of Rugaard – who, perhaps also programmed, as a Mother, but by her human nature – , identifies some inconsistencies in the scenario of in which it was inserted. The young girl even expresses some of her existential dilemmas to the machine, asking her what would have happened to other beings like her, truly bothered by the robot and her moral doubt, the motto that would justify the extinction of humanity as that she would have existed. .

With all his skill, Sputore leads the viewer to mentally build the lack of harmony between the two, especially because Daughter is already a teenager, very critical of everything and everyone, so — especially with the entry on stage of Hilary Swank. The Woman, this mysterious figure, also nameless, lends itself to the superego role of the daughter, since she only knows the notions of humanity taught to her by Mother, who, of course, is not human. Like two individuals of the same species, who recognize each other, realize their common needs, and join together to defeat a more powerful organism that also subjugates them, Girl and Woman are indelibly seduced by the possibility of leaving the laboratory and verifying by themselves what remains of the world.

“I Am Mother” has very similar resources to Alex Garland’s “Ex-Machina: Artificial Instinct” (2014), in terms of unraveling its core. Also featuring a small but refined cast, Sputore uses the hypothesis of mechanisms whose main function of improving human life is distorted, and gynoids – both in the 2019 production and in “Ex-Machina”, two characters women, the which in itself fosters disparate discussions encompassing misogyny, women’s empowerment and even domestic violence – spiraling out of control, becoming mistresses of an environment in which they could never be more than underlings. invisible minions. For the good of man.

By mimicking a motherhood she can never really feel, Mother thinks she knows what’s best for her “daughter,” which is a perfect paradox. As much as the foundation of her invention was to generate a Girl, to feed her, to hold her hand while watching her take her first steps, she does not manage to reach the complexity, the richness which defines her condition, it that is, to participate in all the processes that involve motherhood, since a mother can only be born when she is complete for it, and she is not complete until she recognizes herself in her baby. A robot cannot see itself in a person, and worse, it has supposedly correct parameters which for a human being are simply monstrous. Score.

Unlike Veronica from “Mom!” (2017), one of the greatest exponents of maternal love in cinema, protagonist of Darren Aronofsky’s film, the Mother of “I Am Mother” pursues an idea of ​​motherhood that is nothing but an aberration fueled by eugenic thinking. The mother is only the (mechanical) arm that makes people by killing in them precisely what makes them such different beings from robots. There are those who see this as a bright spot, but history teaches that this film’s ending isn’t a happy one at all.

Film: i am a mother
Direction: Grant Spoutre
Year: 2019
Gender: Science Fiction/Thriller
To note: 9/10

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