In Blade Runner 2049, there is a quiet, unsettling scene in which a replicant, an engineered being designed for labour, is told that his memories are not his own. They have been implanted. Manufactured. He is, in every meaningful sense, a product. And yet, as the film unfolds, it becomes increasingly difficult to sustain that description. He feels. He longs. He suffers. He hopes.
The world of Blade Runner 2049 is built on a contradiction: beings who are treated as things, yet cannot help but appear as lives.
A similar tension runs through Ex Machina. Ava, an artificial intelligence embodied in a humanoid form, is confined behind glass, observed, tested, evaluated. The question posed by her creator is clinical: can she convincingly simulate consciousness? But the question that emerges for the viewer is far more troubling: what kind of person can look at a being like this and see only an object?
These films are not really about the future. They are about us. They ask, with disarming clarity, what it is that allows human beings to recognise, or to refuse to recognise, life.
And that question is not abstract. It presses urgently upon us, here and now.