AUTÓMATA – The Review

Robots. Ever since the dawn of science-fiction arose from the industrial revolution, it seemed inevitable that technology would play a major role in the future evolution of mankind. Or, perhaps, as some would suggest, skip evolution all together as human beings become extinct and the fruits of our scientific prowess take over as the top of the Earthly food chain. Wherever we fall on that debate, the ultimate question remains… what will the continued advancement of technology look like and how would humanity fit into the long-term picture?

Writer and director Gabe Ibáñez returns five years after revealing his first feature film HIERRO (2009) with AUTÓMATA. He dips his quill into the rich ink pot that is science-fiction to tackle the difference between man and machine, or the similarities that emerge beneath the blinding veil of fear and hatred. This may sound all too dramatic, but at its core, AUTÓMATA is a story about tolerance and equality. Many films have traveled down this road, all having their own stakes and perspectives and this one is no exception.

The film takes place in a not-so-distant future where society has taken a technological step backwards in time. After years of technological advancement, the planet is now laden with uninhabitable radioactive wastelands, barren deserts incapable of supporting life. Civilization now huddles cramped within ultra-urban cities enclosed within massive protective walls. Robots have taken over virtually every possible facet of service, but now many of them have become the equivalent of stray dogs.

The robots of AUTÓMATA function on two very basic but crucial protocols, the first of which is not to harm any living creature. The second, and ultimately more significant of the two, is the inability to alter in any way themselves or other robots. These two protocols are designed to prevent robots from self-evolving beyond our control and therefor endangering our very existence. The simplicity of the theory is seemingly perfect, but as Ibáñez borrows from JURASSIC PARK’s Dr. Ian Malcom, Dr. Dupre casually explains to Jacq that life will find a way.

Antonio Banderas (THE EXPENDABLES 3) stars as Jacq Vaucan, an insurance agent for ROC Robotics Corporation. When he is tasked with a case involving a robot shot and destroyed by a cop named Wallace, he stumbles upon something that completely rocks his world and sends him down a rabbit hole of discovery that will forever change the definition of life and humanity. Wallace, played by Dylan McDermott (American Horror Story), is a vengeful cop with a seething hatred of robots. His temper and rage blind his judgement and he becomes one of many obstacles in Jacq’s unsanctioned investigation of the possibility that the “second protocol” could be broken. Jacq ventures into the desert outlands and encounters Dr. Dupre, played by Melanie Griffith (DARK TOURIST). From this moment, he has stepped beyond the point of no return and Jacq finds himself fighting to survive while uncovering the truth.

AUTÓMATA is a slowly evolving mystery with alternating moments of reflection and realistically rendered action that evades the exaggeration so often common to the genre. Banderas fully embodies Jacq’s introspective, perhaps even somewhat selfish obsession with finding something else for his life, in whatever form that takes. Initially, he seeks to escape the city with his wife (played by Birgitte Hjort Sørensen) and unborn child, but his focus gradually shifts to finding the truth about the robots. Griffith’s on screen time is short-lived, but her presence carries on as the voice of Cleo, the vaguely female robot formerly tasked as a pleasure bot that accompanies Jacq on his partially involuntary journey deep into the desert. The cast also offers familiarity with Robert Forster as Jacq’s superior and Javier Bardem as the voice of a key robot.

Ibáñez combines a clear inspiration from genre masterpieces with his own unique visual style and philosophical point of view. The unmistakable influence of Ridley Scott’s BLADE RUNNER (1982) is ever present, but never overshadows the film. Instead, this adds an element of admiration as he takes the flavor of Scott’s brilliant film and marries it with a more contemporary sensibility. AUTÓMATA is less film noir and more social commentary. This is a serious, dramatic film that never coddles the audience. There is virtually no comic relief and occasionally asks the viewer to swallow a bit more of a philosophical pill than we’re typically used to choking down, but for this I applaud. The visual style and general tone of the film may also remind viewers of the South African DISTRICT 9 (2009). Finally, if you watch closely and have a fairly keen cinematic vocabulary, there is a pleasantly refreshing influence of Stanley Kubrick on multiple levels to enjoy.

AUTÓMATA has a lot going for it, from stunningly restrained cinematography (Alejandro Martínez) that depicts the plight of Jacq’s world to the fantastic soundtrack, composed by Zacarias M. de la Riva (THE MACHINIST). Some viewers may find the pace ever so slightly on the slow end of entertaining, with a running time of 110 minutes. The ending of the film may also prove more or a stretch than the average viewer will allow, but in this, an open mind and an understanding of the underlying ideas are key to an appreciation of this film.

AUTÓMATA Opens in Theaters and On Demand October 10th, 2014

Overall Rating: 3.5 out of 5 stars