Mother/Android explores the increasingly prevalent subject of what will happen if the artificial intelligence that we are so keenly building becomes too sophisticated and demands its own freedom. It is a post-apocalyptic science fiction drama film. Mother/Android, which follows a pregnant woman and her lover, is a mediocre film that is a mix of anticipation and letdown.
At a younger age than they had anticipated, Georgia and Samuel learn they are pregnant at the start of the movie. They witness what is eventually referred to as the Blitz that very night at a friend’s party, when AI robots suddenly assault their human masters across the country. Georgia and Sam manage to elude the attacks after escape the android attendant Eli at the friend’s house, and they are last seen almost eight or nine months later. Currently, the couple is camping out in the woods. Many large cities have already been overrun by androids, who have killed countless people and driven the survivors to camps in forests and some cities.
Georgia and Sam are planning to depart before their baby is born since Boston is still a safe place for people and because they have heard that there is a programme that will allow families with children under the age of one to leave the nation and go to Asia. When they come to an army camp in the forest, the camp doctor advises them to stay put until Georgia gives birth, but Sam’s activities cause them to be kicked out of the camp. Georgia, who is severely pregnant, and her boyfriend set out on their own for No Man’s Land, an area that stands between them and Boston and is overrun by android robots who attack any humans they can find.
The bond between Georgia and Samuel is at the heart of the movie’s major theme of human love. The moment they become aware that they are about to become parents at the beginning of the movie, there is a definite sense of miscommunication between them. Sam is unsure of what his partner wants but assures her that he will back her choice. Georgia is mostly unhappy and concerned at the notion of becoming a mother so young. Soon after, Georgia confides in her friend that she isn’t sure whether she wants to stay with him at all despite his request for a wedding.
The feeling of miscommunication and the two not being on the same page persist despite the fact that their love and concern for one another appear to have increased throughout the time that goes by unseen. Sam insists that Georgia leave for Korea with the baby out of concern and care for them after they discuss what would occur in the Boston programme if the father is denied permission to leave the country. Georgia, however, interprets it as Sam’s scheme to ship away his fiancée and their infant in order to get rid of them. The couple only becomes close and grows stronger as a unit with time spent together and also with the birth of their child.
The conspicuous lack of any form of android perspective, though, is the movie’s biggest letdown. Surprisingly, Mother/Android avoids it in a society where hate speech is on the rise and, more especially, in a genre that is progressively attempting to examine issues from different perspectives. From the renowned videogame Detroit: Become Human by Sony Interactive to the iconic Blade Runner movies, It is the stance of the attacking deviants or AI in the media generally. They make the decision to defy the programming that discloses their victim status and humanises them.
However, in Mother/Android, that potential is entirely unaddressed as the androids suddenly revolt and take over human society without any justification for their acts or any reason for their retaliatory brutality against humans. Intentionally or not, the movie portrays all artificial intelligence as the Other, whose sole existence is as the antithesis of the Self, or in this case, humans, who are shown primarily as cunning and bloodthirsty torturers. The Mother/Android doesn’t even attempt to investigate or comprehend the attacks. Instead, it merely turns its head shamelessly away, designating all AI as the world’s worst enemy. Not all people are depicted in a favourable light. The selfish motives of flesh and blood men are often brought to light. However, there are many kind people in the movie, and any perspective from the other side may have given the scenario and the world shown the much-needed complexity.
The fact that Mother/Android decides to be a drama movie at its core is the most likely reason for the lack of perspective indicated above. The young couple and the lengths to which they go to ensure the safety and well-being of their newborn are at the centre of the movie, despite the fact that the world around us is post-apocalyptic and contains enough elements of science fiction. Georgia shines out as a character, particularly because Chloe Grace Moretz does a great job portraying her. Georgia’s endeavours to get her infant to safety transform her into a mother fighting out against hordes of Androids rather than just another victim of her enemies. Any fan of drama in general and the science fiction genre in particular should give Mother/Android a try. It has mediocre cinematic techniques and filming but a plot that is quite compelling.
Read More:The Meaning of the Mother/Android Ending
The leads in the post-apocalyptic film Mother/Android are Chlo Grace Moretz and Algee Smith.
