[projekktor id=’18515′]
The definition of sentience is the ability to feel, perceive, or experience subjectively. Humans are sentient and we believe most animals to be sentient but what about machines? How do we gauge artificial intelligence? Are methods like the Turing test still accurate given that machines now have vast databases of information (e.g. IBM’s Jeopardy playing computer Watson)? More importantly, what are the ethical and evolutionary implications of the development of A.I.? Alex Garland‘s directorial début Ex Machina weaves these questions (and many more) into the narrative of an engrossing psychological thriller that keeps you on the edge of your seat.
Caleb (Domhnall Gleeson), a mild mannered web programmer at the world’s leading search engine Bluebox (think Google but blue) gets the chance of a lifetime when he wins a company-wide lottery to spend a week with Bluebox’s reclusive founder and CEO Nathan (Oscar Issac). Caleb is dropped off at Nathan’s isolated but breathtaking estate and finds his way to the main door where a computerized welcome system lets him in. The mood is set instantly as the audience travels from the warmth of the world we know to the cold, robotic world which Nathan calls home. While there’s a sense that the mysterious CEO will be just as emotionless as his castle, he isn’t. Nathan is enigmatic – a little devious for sure – but there’s a melancholy to him that makes him likeable. He certainly doesn’t look like the typical reclusive nerd – he’s handsome, he’s fit, and he parties (alone, but still). The cold, stark appearance of the house is soon explained: the building isn’t a home, its a research facility, isolated to protect Nathan’s groundbreaking discoveries in artificial intelligence. Nathan quickly reveals why Caleb is actually there: he’s to be the human component in a Turing test to determine if Nathan’s newly developed bot Ava (Alicia Vikander) is sentient. Caleb agrees and quickly finds himself in the center of a cat and robo-mouse mind game between Ava and her creator.
The film is cast perfectly, and all three leads are exceptional. Gleeson is Caleb Jones, the smart, funny, yet lonely every-man. It may be a rather simple character but that’s what makes Caleb so relatable. Gleeson’s natural performance cements him as the central character, even when our allegiances begin to seem suspect. Issac beautifully toes the line between evil mastermind and misguided prodigy. It’s clear he’s hiding something but the “what” and the “why” aren’t revealed until the very end, meaning we’re suspended between trusting and fearing Nathan for the majority of the film. Then there’s Ava. Sentient or not, Vikander excels in the physical portrayal of the robot while also imbuing the character with a sense of humanity. Like Caleb, the audience is performing a Turing test of their own (whether conscious of it or not) on whether Ava is a sympathetic character and whether her motives are to be trusted. Vikander’s portrayal is brilliant because it’s ambiguous and forces the viewer to decide her status for themselves.
The real revelation of Ex Machina is that such a remarkably well made film came from a first time director. Sure, Garland has been in the industry for ages as a screenwriter but that doesn’t always transfer to visionary directorial debut. Transcendence would be the obvious example, which was quite the disappointment from Oscar winning cinematographer Wally Pfister. Ex Machina has its foundation in a strong script and cast but it also boasts imaginative cinematography, an incredible production and set design, and a steady pace that builds in momentum and suspense. With such a successful debut Garland will most likely follow in the path of many of his contemporaries (Gareth Edwards, Josh Trank, Drew Goddard) and be fielding blockbuster offers from major studios. The true test will be if he can maintain his original voice helming the next superhero franchise or a Star Wars spin-off (just think of the Isaac & Gleeson reunion).
Reviewed by Vithiya Murugadas.
