Life is to go against his nature
F. K. dick “do androids Dream elektroauto”
Night. Cold. Loneliness. Emptiness. We have all seen, but never in Los Angeles 2049 year. Icy, burning beauty that is born of a brilliant Dikins, hardworking Zimmer and budding Villeneuve the starting point is at the convergence of angry critics and enthusiastic fans. Everything else is debatable, but the beauty? Beauty is immutable, and everything else recedes into the background.
This triumph of aesthetics could not remain unpunished, and where some see a picture painted in broad strokes, alluring possibilities of different interpretations, others see a Director’s negligence and hackneyed story of the Golem/Pinocchio. Where some see a dangerous mix of “Paradise Lost” and “Artificial Intelligence”, others see heavy biblical metaphors, which are so addicted lately Ridley Scott.
Existential cold and bottomless tragedy of inevitable death, which breathes “Bladrunner 2049” (though not in all its extent), immediately suggests meluruskan “Samurai”. Of course, the picture Villeneuve, partly repeating the brilliant French polar ask questions and expressive means, offers other answers, and comes to them quite differently. So, if a hero I already schizophrenic loyal to his samurai duty officer Kay just desperately trying to find my purpose, leading, however, to the same end. If JEF Costello is stripped of the attachments, the Key is at least trying to show love to the virtual joy, giving us one of the most delicate and sensual sex scenes of recent years.
However, if we leave out of wood, like a hut, a game Ryan Gosling, it is clear that Villeneuve managed to create one of the most convincing since “Samurai” statements on the subject of infinite loneliness of a man seeking death, and therefore all the sins of “Bladerunner” worthy of forgiveness.