Summary:
Remarkable film that with great sensitivity and intelligence and from science fiction addresses a mid-life crisis and deconstructs the love bond and romanticism, but without giving it up.
Review
Alma is an anthropologist who works in a Berlin museum doing research on cuneiform writing. To obtain funds, she agrees to participate in a scientific test where she must live for three weeks with an android programmed to satisfy all her wishes.
The film by Maria Schrader (director of the Unorthodox miniseries and the film Stefan Zweig: Farewell to Europe) manages with this story to combine and reflect on various issues without remaining a mere anecdote.
First of all, the German title, Ich bin dein Mensch, is significant. It is not "dein Mann" (man in the sense of male human) but "dein Mensch", which in German means man, but as a human being in general. And this distinction is relevant for everything that the film addresses. And the "Ich bin" (I am) places the title in the first person of the humanoid.
Of course, the film reflects and acutely on the implications of relating physically and emotionally with a humanoid and algorithms-base affinity and it does so many times in the voice of Alma (an extraordinary Maren Eggert), especially when she speaks with the humanoid Tom (Dan Stevens, beautiful, perfect and measured and speaking in German). And the story is also placed on Tom's side.
But co-writer Maria Schrader goes beyond the plots of the science fiction story and frames it in the midlife crisis that it triggers in Alma, a woman who seems to put all her energy into her profession, who is not recovered from her injuries and that he is capable of a certain aggressive cynicism. And she adds a lucid study on power relations and alterity in love ties, because What does it mean to relate to someone whose main objective is to please us? What kind of link can be established under this premise? Is there an other? Can love and happiness prosper?
The film knows how to raise its questions not only with the spoken word and of course it outlines some answers. But his main merit lies in the realm of the ineffable (there is a remarkable scene in a forest in this sense), in the climates (which include an effective use of comedy) that it knows how to create with a sensitivity and delicacy that at times appear to the abyss and in others to hope, in this story that deconstructs the love bond and romanticism without giving it up.
Remarkable film that with great sensitivity and intelligence and from science fiction addresses a mid-life crisis and deconstructs the love bond and romanticism, but without giving it up.
Review
Alma is an anthropologist who works in a Berlin museum doing research on cuneiform writing. To obtain funds, she agrees to participate in a scientific test where she must live for three weeks with an android programmed to satisfy all her wishes.
The film by Maria Schrader (director of the Unorthodox miniseries and the film Stefan Zweig: Farewell to Europe) manages with this story to combine and reflect on various issues without remaining a mere anecdote.
First of all, the German title, Ich bin dein Mensch, is significant. It is not "dein Mann" (man in the sense of male human) but "dein Mensch", which in German means man, but as a human being in general. And this distinction is relevant for everything that the film addresses. And the "Ich bin" (I am) places the title in the first person of the humanoid.
Of course, the film reflects and acutely on the implications of relating physically and emotionally with a humanoid and algorithms-base affinity and it does so many times in the voice of Alma (an extraordinary Maren Eggert), especially when she speaks with the humanoid Tom (Dan Stevens, beautiful, perfect and measured and speaking in German). And the story is also placed on Tom's side.
But co-writer Maria Schrader goes beyond the plots of the science fiction story and frames it in the midlife crisis that it triggers in Alma, a woman who seems to put all her energy into her profession, who is not recovered from her injuries and that he is capable of a certain aggressive cynicism. And she adds a lucid study on power relations and alterity in love ties, because What does it mean to relate to someone whose main objective is to please us? What kind of link can be established under this premise? Is there an other? Can love and happiness prosper?
The film knows how to raise its questions not only with the spoken word and of course it outlines some answers. But his main merit lies in the realm of the ineffable (there is a remarkable scene in a forest in this sense), in the climates (which include an effective use of comedy) that it knows how to create with a sensitivity and delicacy that at times appear to the abyss and in others to hope, in this story that deconstructs the love bond and romanticism without giving it up.