a futuristic nightmare that pits the West and Asia against each other

Harun (Ken Watanabe) in the film “The Creator”, by Gareth Edwards.


A little genius in visual effects, Gareth Edwards made himself known in 2010 by directing a low-budget science fiction film, Monsters, which was characterized by a subtle inventiveness, despite – or rather because of – extreme budgetary constraints, with which a story based on alien invasion and giant monsters was conceived. Edwards knew how to inject an unexpected political dimension into his film. The success of this first feature film then allowed him to access more mive productions such as a remake of Godzilla (2014) and an episode of the franchise Star Wars. His new production happily combines the requirements of heavy industrial manufacturing, but also the requirements of a budget despite all content (the film would have cost “only” 80 million dollars) with a very personal perspective.

Certainly, the plot of The Creator seems to follow well-trodden paths and draws on various sources, from 20th century literary science fictione century. In a more or less distant future, the Earth is the scene of a conflict which pits the West and Asia, and more precisely, humans against a civilization of robots, originally created by men but which have become autonomous and accused of launching a nuclear strike on Los Angeles. On the grounds of the revolt of the machines, the scenario thus adds the inevitable question of the humanity, presumed or possible, of the androids, and the manes of Isaac Asimov and Philip K. of being summoned subliminally.

An android child

The army sends an elite soldier to destroy what is believed to be a formidable weapon held by the artificial creatures. He discovers that it is an android child, a 6 year old girl. He refuses to destroy her and takes her in search of a wife he had thought dead. Suddenly struck by doubt as to the legitimacy of his mission, hunted by the army, the man, flanked by the robot child, embarks on an odyssey during which all his certainties will be turned upside down.

With its portable and all-terrain mythology, its messianic and sacrificial itinerary, the psychological and sentimental quest that it describes, its adventures sometimes televised, the scenario of The Creator sometimes gives the feeling of reproducing various conventions and situations already seen a lot. The interest of the film undoubtedly does not lie in this work, certainly skillful, of recovery and synthesis. This mixture of warrior road movie and initiatory journey summons, in fact, a very familiar imagery by sending the viewer back to a particular historical memory, that of contemporary conflicts.

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