The temptation to settle for an artificial substitute is a theme also found in the two Solaris adaptations ( by Tarkovsky, 1972 by Soderbergh, 2002) and in Spielberg’s A.I. But the more authentic they feel, the more comforting they are to a well-functioning replicant. There are fluid lines of demarcation: memories are implanted in the replicants to make their reactions and behaviour more human, but the recollections are artificial in the sense that they are staged, because it is forbidden to use real memories.
(There is also an enclosure with input from others from various interesting Facebook discussions.)ĭenis Villeneuve‘s follow-up to Ridley Scott‘s celebrated Blade Runner from 1982 twines Gordian knots of thematic strands like authenticity (humanity), copies (the manufactured replicants), and various types and degrees of reflections. Nevertheless, this article shall delineate some impressions, ideas and thoughts that have reached the surface. So far the author has three screenings under his belt, and it is still not easy to mobilise the analytical part of the brain. Blade Runner 2049 is so powerful, the canvas so wide, the cast of characters so big, and the plot sufficiently complex, that the first encounter with the film can only be reconnaissance.
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