There is an intimacy to her performance, which makes sense considering this is one of many films with a production that was uniquely warped by the pandemic. She is such an intuitive performer that she somehow gives Georgia an identity that the script never afforded her, and manages to break hearts in one scene where the film doesn't really deserve an emotional response. The acting is usually as good as it can be, considering the lack of character depth, especially from Chloe Grace Moretz. Ambiguity seems to be key here, with Mother/Android forsaking specific details in order to allow the film to be more universal and apply to numerous allegorical interpretations. It's clear, then, that the film exists in some time period between very distant and possibly soon, though the film never specifies. A butler of sorts carries a tray of hors d'oeuvres at an impeccably straight angle, and when one rowdy partier sends a ping-pong ball directly toward his head, the butler catches it in one hand while maintaining perfect control of the tray with his other. The same thing applies to a house party later that evening, where (newly pregnant) protagonists Sam and Georgia wander to. This is honestly a brilliantly subtle way to introduce the idea of androids and artificial intelligence into the film the sweater-clad Eli is undoubtedly intelligent, but also disturbingly artificial.
"Eli, it's Christmas," the guest responds.
At a cozy Christmas party, with the decorated tree and strung lights blinking madly away in the background, one handsome man tells the departing guest, "Happy Halloween, sir." His red Christmas sweater is bursting with holiday cheer. After a brief introduction, the audience is introduced to a world that looks strikingly similar to contemporary society, though something isn't quite right. In Mother/Android, the singularity happens rather suddenly (like practically everything else in the film). SCROLL TO CONTINUE WITH CONTENT Non-Specific Singularity From HAL 9000 to the digital overlords of The Matrix (which the director has literally watched more than 100 times), cinema has many worst-case scenarios for the fate of the human race. This kind of hypothesis often leads screenwriters to imagine something awful- once computers can exponentially develop on their own without the assistance of humankind, then why would the technology keep people around (at least as anything more than meat slaves)? This theme has been seen frequently over the past half-century of technological innovation, as computers become both smarter and smaller. The film concerns what's often called the ' technological singularity,' or the point in which technology becomes so uncontrollable that there is an intelligence explosion of sorts, where artificial intelligence becomes smarter than humans. It's weirdly ironic, then, that Tomlin's film seems to be a divided subject itself, split between a phenomenal science-fiction picture and a rather bland melodrama without much substance. The bifurcation of the name is between the most human and life-giving subject imaginable (a mother) and the most lifeless, inhuman one science-fiction usually comes up with (an android). Mother/Android is the perfect title for Mattson Tomlin's first film.
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