Lana Wachowski directs alone the long-awaited fourth installment of the saga, ‘Matrix Resurrections’, which opens this Wednesday
Keanu Reeves and Carrie-Anne Moss recover their characters in a plot in which, again, everything consists of taking a red or a blue pill
Two decades after the experience in ‘Matrix Revolutions’, the film that closed the trilogy, Neo has returned to apparent normality. He is again Thomas Anderson (with a Paul in front we would have a nice cinephile game with the director of ‘The invisible thread’), a brilliant video game developer. The most successful of his works is, of course, Matrix. The action starts with the character sitting in front of his computer screens, more bored than active. You go to therapy to clarify the events that still flit through your mind, lived or dreamed, and take a few blue pills to overcome anxiety. He knows nothing of his other reality, Neo’s. But one day he runs into a woman who reminds him of a remembered woman who does not know whether she knew or dreamed. Is TrinityOf course, although her name is Tiffany now, she is married with two children. In this simple way, trapped in the Matrix with no memories, they reappear on the scene Keanu Reeves y Carrie-Anne Moss.
‘Matrix Resurrections’ returns to the screen characters, situations, images, sensations and terminology that we had already forgotten and that caused so much impact on us 1999, when ‘Matrix’ was released. It was impossible to understand everything, but the visual apparatus and some philosophical concepts were so stimulating that the Wachowski sisters’ film became an essential piece for the new paths of science fiction, in addition to revolutionizing the digital technology of the moment. After ‘Blade runner’ (1982) y ‘Terminator 2’ (1991), ‘Matrix’ brought revolutionary visual design concepts.
So now we hear again on a screen as normal the modal term, the loop that does not stop repeating, the paramagnetic oscillation or the ‘déj àvu’. Modal is the simulation that allows the evolution of a program. Because we are back in the universe of programs, intelligent machines and the alteration of reality. Are we algorithms or can we escape programming?, the protagonists ask themselves. Lana Wachowski, solo director of this fourth installment, It is counted on that the viewer of ‘Matrix Resurrections’ has seen the previous installments, although getting lost without understanding everything by the common narrative of these films is not exactly a problem either.
In recent statements, Lana talks about the paradox between a technology model that on the one hand brings us a little closer, while on the other it isolates us: “The power of technology To catch or limit subjective reality shows is one of the fundamental elements of this fourth film & rdquor ;. The pandemic It flutters in one way or another over the film, since it was technology that allowed us to continue interacting during the most complicated months of last year and what allows the protagonists of this fiction to believe in a better future.
At one point in the film it sounds ‘White rabbit’, song of the psychedelic group Jefferson Airplane. Lately we have listened to it ad nauseam, in movies like ‘Kong: Skull Island’ and television series like ‘The stand’ and ‘The maid’s tale’, but here it suits him like a glove. It establishes parallels between the consumption of LSD or hallucinogenic mushrooms and Lewis Carroll’s novels about Alice. We also see on a plane the cover of ‘Alice in Wonderland’. The Wachowskis took both into account, the adventures of Alice when crossing the mirror (Neo and his friends continue to go through the mirrors that separate reality from the Matrix) and the lysergic experience (the famous red and blue pills). After all, the original ‘Matrix’ was a real audiovisual ‘trip’ that the Wachowskis have tried to keep reproducing with the addition of more and more layers of plot density.
Lana and Lilly rebelled against gender binaryism and stopped being Larry and Andy, submitting to sex reassignment surgery in 2008 and 2016, respectively. In the original film there were already indications of the transgender as a transformation in various lines of dialogue. But in this fourth film that duality continues to exist. For the new Morpheus incarnated by Yahya Abdul-Mateen II (The most exciting theories circulate on the networks about where the original Morpheus played by Larry Fishburne is found), the red and blue pills are binary options. Taking one you can get out of the Matrix. Ingesting the other, you remain there. ‘Matrix Resurrections’ returns to this binary idea. Either you live inside the Matrix, without memories, under the invisible yoke of machines, or you escape that control. To achieve this, Lana Wachowski has devised complex mechanisms and original visual scenarios such as the cameras that preserve the viscous bodies of the protagonists and the insect-shaped machines that connect and disconnect them.
And what would a film about the Matrix be without the ‘bullet time’ effects? The viewer will find them in capital sequences of ‘Matrix Resurrections’. Various interpretations also circulated about the title of this fourth installment, but the Wachowski sisters themselves have clarified them by explaining the reason for their friendly artistic separation. For Lana, return to the Matrix and bring Neo and Trinity back to life, who died in the third film, was a way of handling the mourning for the death of their parents as well as possible. For Lilly She assumed the opposite and explained it this way: “I did not want to have passed my transition as a transsexual woman and have suffered the loss of my mother and father to go back to doing something that I had already done & rdquor ;. That is why Lilly has been absent from this resurrection.