Like so many cyberpunk movies before it, Jérémie Périn’s ultra-cool and dazzlingly animated “Mars Express” is sustained by the vertigo between the boundlessness of computer technology and the banality of what people do with it. What separates this accomplished French “Ghost in the Shell” homage from its most obvious touchstone — and from several other detective stories in which a police team of people and androids investigate what it means to be human — is the film’s determination to dismantle that dynamic.
Much less nakedly philosophical than anything Mamoru Oshii has ever made, “Mars Express” is nevertheless fascinated by the future that artificial intelligence might choose for itself if it were unshackled from the limits of our mortal imaginations (and from the anxieties that come along with them). Périn is humble enough to only half-guess at an answer, but his steadfast conviction that humans and robots could mutually inhibit the...
Much less nakedly philosophical than anything Mamoru Oshii has ever made, “Mars Express” is nevertheless fascinated by the future that artificial intelligence might choose for itself if it were unshackled from the limits of our mortal imaginations (and from the anxieties that come along with them). Périn is humble enough to only half-guess at an answer, but his steadfast conviction that humans and robots could mutually inhibit the...
- 5/1/2024
- by David Ehrlich
- Indiewire
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