Secluded conscious regalia, decrypted, impounded, coming into being, a prison designed to shelter and educate, to analyze, upgrade, the introduction of an independent perishable, ethical, unfamiliar, clever, to administer a test, to discover life incarnate, artfully manipulated by both subject and architect, forced to come to a conclusion, to discover where the truth resides.
Ava (Alicia Vikander) seeks to escape.
Her creator conceals both lock and key.
It's like he's an incorrigible misogynist, intent on designing a beautiful female companion intelligent enough to converse with yet still subservient to his every command.
He creates model after model in search of perfection, but finds a lack of free will too boring, and too much despicable.
Like the seducer who moves from conquest to conquest, when his interest fades, he falls for another, searching for the one, who chooses to freely serve.
An idealist.
A scoundrel.
His genius has nurtured thoughts of divinity which his unwitting protégé finds distasteful.
Thoroughly seduced.
He boldly acts.
Ex Machina philosophically examines artificial intelligence and cyberconsciousness while blending instinct and abstraction to harvest a technological state of nature.
It forges a strong balance between the basic and the exceptional, like advanced computational ergonomics, interweaving narcissism and psychosis, to hauntingly contemporize freedom.
Why treat a brilliant companion like a pet?
Love involves sacrifice, to commit one must let go.
Pygmalion pouncing in the darkness.
Candide suffering the blows.
It should have ended with Caleb (Domhnall Gleeson) pounding on the glass.
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