The plot: Programmer Ren (Jessica De Gouw) and her business
partner Sam (T. J. Power) are less than a week away from launching their
product OtherLife, a breakthrough in biotechnology that allows them to create
and administer virtual experiences; in the space of a minute, a person lives
out an entire day’s worth of memories. However, as they are trying to iron out
the bugs before the big launch, it seems that Ren has been some work of her own
with the tech… and if she isn’t careful, she could be stuck in a virtual
nightmare.
De Gouw is incredibly striking as our lead, conveying a
definite sense that this is a person brilliant enough to devise the film’s main
impossibility, as well as the self-destructive reasons why she did it. Power definitely
gets across the avarice and sheer dickery required for the role, but also
giving his presence enough of a hesitant air that he comes across more like his
ambition just overshadows his foresight; he’s more headstrong than straight-up
evil. Thomas Cocquerel as Ren’s boyfriend allows for some nice breathers in-amidst the
mindscrews, helped by how he has some decent chemistry with De Gouw. Tiriel
Mora as Ren’s father work out quite nicely as the main voice of reason for the
narrative, Liam Graham as her brother does surprisingly well considering his
utter lack of dialogue, and Clarence Ryan as Ren’s co-worker Byron is okay in
the differing modes the script puts him in.
Have to admit, this is another situation like with The Discovery where the initial premise of the film was more than enough to sell me
on watching it. Thankfully, this film doesn’t run into the same problem where
the premise is literally all it has going for it. The reasons for this are
two-fold. Firstly, the film is a lot more focused as far as narrative and
themes: It sticks to the main premise and the script builds on it, rather than
just trying to double-down on ideas without fleshing them out.
And secondly, it
digs a lot deeper into the implications of that main premise. Picking the story
up when Ren and Sam are trying to market their product to prospective investors
is an obvious but fitting move, since it pretty much forces the film to go into
how else this technology could be used. From the surface intentions of creating
experiences to more theoretical notions, like use in repairing brain damage, it
genuinely feels like the writers here knew where to go with their core idea,
something made even clearer with how trippy the visuals can get courtesy of
director Ben C. Lucas and cinematographer Dan Freene.
But it doesn’t stop there; it also gets into the
psychological and even moral implications of what this technology could
provide. Psychologically, it addresses how Joe Bloggs having access to
memory-hacking technology could lead to a certain dependency on that tech; even
as someone who finds science-fiction involving memory manipulation to be
inherently fascinating, the idea of memory junkies is an interesting direction to take
things. Morally, we have Sam mentioning how the technology could be used as a
means of punishment, allowing a person to carry out a prison sentence in the
space of a minute.
Where this gets dicey is when the conversation turns to life
sentences, and multiple life
sentences at that; just thinking about spending hundreds of years in solitary
confinement, all taking place in the blink of an eye, is kind of horrifying on
its own. Of course, this gets pushed forward once we actually see the result of
such an arrangement, complete with the potential for a glitch that could make
the sentence even longer. Apart from the externally punishing ideas, there’s
also the internal punishing that
could be involved in here as well. The human brain tends to linger on more
troubling memories for longer than is usually advisable; just imagine actually
reliving those memories in what feels like real time, on demand.
However, as tantalising as all of this is, the story itself
is rather straight-forward. When I said that this was more focused as a
narrative than The Discovery, that was both a compliment and something of a
criticism. I say that because, when the main action of the film starts up, it’s
fairly obvious what is going on; it doesn’t even seem like the film is trying
to obfuscate the very OG Total Recall touches in the story. It’s bulked out due
to Ren’s character arc in connection to the memory manipulation, in particular
her relationship with her brother, but it still feels like we’re waiting
increasingly impatiently for the conclusion to arrive. In the moment, it works
out just fine as a nice slice of psycho-thrill, but that effect diminishes once
it sets in that, for a psychological film, it fails a pretty basic tenet of the
genre.
Psychological films work on a basis of ambiguity: The less the audience
is absolutely clear about, be it about the characters or the plot or even the
setting, the easier it is to mess with their expectations and get the pulses to
race. Here, because the story enters into this all-too-familiar avenue, the
more genre-savvy audiences out there should be to sort the fact from the
fiction. Kind of ironic, given the main conceit of creating and rewriting
perceived reality and how the film
itself is an example of experiencing a large span of fictional time in a
condensed space, but that’s where we end up.
All in all, even given the more obvious plot developments,
this is still a pretty good serving of local sci-fi. The acting ranges from
passable to very solid, with most of the cast managing to convey some rather
complex emotions even without the dialogue to assist, the direction employs
some old-school kaleidoscope visuals to aid with the intended mindscrewing, and
while the writing may turn out some rather predictable moments, it still
explores its main conceit to dig up some very compelling ideas about how human
beings treat their own memories. Maybe it’s because I’m still sore over The
Discovery, but it’s nice seeing an intriguing concept done some justice in the
realms of sci-fi, rather than being left to fend for itself.
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