• Home
  • Interviews
  • Reviews
  • About
  • Print
  • Contact

Indie Cinema Magazine

Menu
  • Home
  • Interviews
  • Reviews
  • About
  • Print
  • Contact
Home › Essays › Film › Nature of Life in Cinema

Nature of Life in Cinema

by Günther Kramer
February 20, 2016
   

ex_machina

“Ex Machina” is a science fiction film which tells a story of a young programmer, Caleb who is invited by his employer, Nathan, to administer the Turing test to a female robot, Ava who has Artificial Intelligence.

The film investigates the subject of creation of a woman which has a long history in both literature and cinematography.

The plot of “Ex Machina” is an intelligent interpretation of the short story “The Sandman”,  written 200 years ago by E.T.A. Hoffman about a mad scientist who creates a woman-automaton and the naive young guy who falls in love with her. The film follows the fabula of Sandman with three main characters and even the scientists name Nathan is an homage to the character Nathaniel written by Hoffman. The main difference is that the naive Caleb in “Ex Machina” knows from the beginning that Ava is an android, while Nathaniel takes Olympia for a real one.

A love story between robot and man cannot have a happy ending. Nathaniel went mad, Nathan was killed and Caleb was securely locked in a remote location.

The film investigates the problems not only of robots and people but also the issue of objectification of a woman. It shows that the fake relationship between men and women becoming more and more acceptable by men for whom appearance replaces real human feelings. It reflects a man’s perception of a woman, their ideal of a woman – first and foremost attractive.The most primitive example of it is a sex doll. This aspect was also touched in the film “Lars and the Real Girl” in which the eponymous character develops a romantic relationship with an anatomically correct sex doll named Bianca.

The doll of Lars is just his imaginary friend. When Lars took her to the church, I was actually not surprised people there pretended that she was alive. It does not matter for him that she cannot feel nor respond. He is so alienated that even this plastic item makes him happy.

 

Blade Runner

Blade Runner

Perhaps the most important film which explores the issues of artificial intelligence is the classic science fiction picture “Blade Runner” by Ridley Scott.

“Blade Runner” depicts a dystopian Los Angeles in which Rick Deckard, a police operative of the Blade Runner unit is given a mission of terminating four replicants – androids who are indistinguishable from humans, who have returned to Earth where they have been declared illegal.

That’s another thing when we speak about Rachel from “Blade Runner”. She is created in an artificial way, but she looks like a human, she is alive, she has human emotions. In “Blade Runner” issues arise from the differences between man and machine. In this universe the differences between human and Replicant have grown so thin that a fictional mechanical device, the test, is required to distinguish them.

In “Blade Runner”, the main character is called Deckard, pronounced like Descartes, the name of an philosopher famous for the statement “I think, therefore I am”. With light sarcasm, one of the film’s androids quotes Descartes’ famous sentence in an attempt to establish that he exists on an equal footing with humans. In this way, one of the film’s main theme is what is required in order to possess identity? The answer of the film is that this is more than consciousness, it is the human being’s place in a history, memories, etc. that build up identity.

Although it is based upon an old story “Ex Machina” is an interesting independent film which makes a contribution into the investigation of important problems of humanism.

Essays Film

 Previous Post

Next Post 

Author: Günther Kramer

Related Articles

Citizen Vigilante (2026)

Uwe Boll’s Citizen Vigilante: Armie Hammer Takes Justice Into His Own Hands

by Diana Ringo
June 22, 2026

After inheriting unexpected wealth in Europe, an American expatriate becomes disillusioned with the justice system in Uwe Boll’s provocative and

Interview with Uwe Boll: Citizen Vigilante Director on Politics, Cinema, and the Future of Filmmaking

by Diana Ringo
June 13, 2026

Anthony Head, ‘Buffy the Vampire Slayer’ and ‘Ted Lasso’ Star, Dies at 72

by Günther Kramer
June 1, 2026

Zvyagintsev’s Triumphant Return as ‘Minotaur’ Takes Cannes Grand Prix

by Pete Brown
May 23, 2026

Jaafar Jackson Shines in Michael, a Polished but Sanitized Biopic

by Günther Kramer
May 1, 2026

Impostors in the Spotlight?

by Günther Kramer
April 16, 2026

‘Mengele’ Aims for Historical Thrills but Gets Lost in Execution

by Pete Brown
April 5, 2026

Canvas to Camera: The 15 Best Movies About Painters

by Pete Brown
March 25, 2026

Latest News

Uwe Boll’s Citizen Vigilante: Armie Hammer Takes Justice Into His Own Hands

by Diana Ringo June 22, 2026 | No Comment

Interview with Uwe Boll: Citizen Vigilante Director on Politics, Cinema, and the Future of Filmmaking

by Diana Ringo June 13, 2026 | No Comment

Anthony Head, ‘Buffy the Vampire Slayer’ and ‘Ted Lasso’ Star, Dies at 72

by Günther Kramer June 1, 2026 | No Comment

Zvyagintsev’s Triumphant Return as ‘Minotaur’ Takes Cannes Grand Prix

by Pete Brown May 23, 2026 | No Comment

Jaafar Jackson Shines in Michael, a Polished but Sanitized Biopic

by Günther Kramer May 1, 2026 | No Comment

Impostors in the Spotlight?

by Günther Kramer April 16, 2026 | No Comment

‘Mengele’ Aims for Historical Thrills but Gets Lost in Execution

by Pete Brown April 5, 2026 | No Comment

Canvas to Camera: The 15 Best Movies About Painters

by Pete Brown March 25, 2026 | No Comment

Mr. Nobody Against Putin — A Puzzle of Myth, Ambiguity, and the Oscar

by Günther Kramer March 25, 2026 | No Comment

Sydney Sweeney and Amanda Seyfried Anchor the Tense Mind Games of ‘The Housemaid’

by Pete Brown March 1, 2026 | No Comment

Solaris 2026 Winners: A Celebration of Independent Cinema in Helsinki

by Günther Kramer February 8, 2026 | No Comment

Brigitte Bardot: The Eternal Rebel of French Cinema Dies at 91

by Elena Ringo December 28, 2025 | No Comment

Blood Star: Director Lawrence Jacomelli’s Debut Feature — The 10-Day Desert Shoot That Shouldn’t Have Been Possible

by Günther Kramer December 10, 2025 | No Comment

The Curse of Modigliani (2025) — A Modern Interpretation on the Life of Amedeo Modigliani

by Günther Kramer December 7, 2025 | No Comment

The Haunting of Prince Dom Pedro — A Clever, Campy Indie That Makes History Class a Killer Good Time

by Günther Kramer November 3, 2025 | No Comment

Do Not Be Afraid of Anything: Ronn Moss Speaks from the Heart

by Elena Ringo October 11, 2025 | No Comment

Kristin Griffith and Artur Smolyaninov Win Top Acting Honors at Prague Independent Film Festival

by Günther Kramer September 25, 2025 | No Comment

Filmmaker Marcus Chan Talks Craft, Representation, and Creative Risk

by Diana Ringo July 11, 2025 | No Comment

Forever Breathless: 65 Years of Godard’s À bout de souffle

by Elena Ringo June 7, 2025 | No Comment

Clint Eastwood at 95: The Last Cowboy Still Rides

by Günther Kramer June 3, 2025 | No Comment

Cannes 2025: Loznitsa’s Two Prosecutors Stuns Critics as Jafar Panahi Takes Palme d’Or in Politically Charged Edition

by Günther Kramer May 25, 2025 | No Comment

Concrete Nothingness: How The Brutalist Builds to Nowhere

by Elena Ringo April 29, 2025 | No Comment

Watch the Curse of Modigliani Trailer—Obsession, Betrayal, and a Haunted Diary

by Günther Kramer February 22, 2025 | No Comment

Anora: A Vulgar Ass-ault on Cinema

by Elena Ringo December 21, 2024 | No Comment

A Raven in Tokyo: How Mark Gill Captured the Troubled Genius of Masahisa Fukase

by Diana Ringo November 14, 2024 | No Comment

Megalopolis: A Misstep from a Legendary Director

by Elena Ringo November 12, 2024 | No Comment

Inside the Making of “Saving Mango”: A Cat’s Story of Survival and Loyalty

by Diana Ringo October 27, 2024 | No Comment

Facing the Past: Exploring Generational Trauma in They Don’t Leave

by Diana Ringo October 3, 2024 | No Comment

Indie Cinema Magazine – Issue 7

by Günther Kramer September 22, 2024 | No Comment

Generations and Identity: Inside Ying Chu’s Ah-Ma: A Tale of Two Worlds

by Diana Ringo September 20, 2024 | No Comment

The Magazine of Independent Cinema

Copyright © 2026 Indie Cinema Magazine

Social Links

  • Subscribe
  • About
  • Team
  • Contact