I can't figure out why this got such a low rating. Those of us who feel our middle class existence slipping away from us and our children will appreciate the contemporary feel. I would think any man with a wife or daughter in the working world (or any women who have a career or aspire to one) may find the film hitting a bit too close to home.The story was well-written, the acting reasonably good, and the cityscape both attractive and well-created.It prompts a discussion of the very nature of self: Who am I, who will I be in the future; if I have my heart surgically replaced, I am still me, no? What about my brain? What about ... everything?

This is great Sci-Fi. An indie film that really makes you think. Diverse, apocalyptic, and deals with capitalism, race, bodies, gender, technology and more in a captivating story. One of my favourite Sci-Fi films this year.One thing I really love is the total construction of a possible future culture, with all the attendant details. It worked so well! From language, to hints about water, and other implied situations or cultural change. Loved the subtlety! I also found it so refreshing vs. big-budget Sci-Fi that hits you over head with what's going on, then does an "explanation" dialogue for 10 minutes. This is a film for curious people, who like to think with cinema.

The plot: In a dystopian future, an Asian woman approaching middle age is fired from her job at a creepy multinational corporation because they want a younger, more racially ambiguous spokesperson. How far will she go to regain her job?The premise is definitely interesting, and there were parts of the film that I really liked. However, the story continually came back to tedious metaphysical themes that bored me. In the end, I realized that the film was about the metaphysical themes, and this left me feeling a bit unfulfilled. I suppose it was even more so about cultural criticism, especially a feminist critique of how society treats female aging and beauty. But it kept coming back again and again to these questions of "why am I here", "what is my purpose", and "is there something insubstantial, such as love, that science can't replicate in a lab"?Kim plays a woman who must make a life-changing choice. Unemployment is skyrocketing, men are pressuring women to leave the workforce, and older workers are seen as hopelessly out-of-touch with the modern market. In fact, humans themselves are being rapidly replaced, and the only way to secure any kind of hope for your child's future is for them to attend the most prestigious schools. The alternative seems to be child prostitution. Most of this is established in the background; if you don't pay close attention, you'll miss it. Unexplained explosions rock the sterility and eerie quiet of the world, and news reports hint at terrorist uprisings because of a hopeless, jobless populace.So, when you lose your job, that basically means that you've lost everything. What if your employer offers to give you your job back if you'll let them control who you are? So, our protagonist becomes desperate to avoid forcing her own daughter to make these same kinds of desperate choices. What can she do but accept? The question becomes what price she has paid. As the film mulls this over, I began to lose interest. Normally, it takes very little for me to become heavily involved in a character's plight, but, in this case, I struggled. Maybe it's because I don't have kids. For a parent, maybe this would be a more harrowing tale.There are many admirable aspects to this film, chief among them a woman-centric tale that feels genuine. In some science fiction films, the female protagonist seems to have been written as a male who then gets a gender-flip to mix things up. Or she's a sexual object for the viewers to ogle. There's nothing wrong with a bit of exploitative science fiction, but it's nice to see something with higher aspirations every once in a while. This certainly has that, but it goes so far as to seem pretentious at times.Maybe this was simply too far outside of my demographic. On the surface, it's got a lot of themes and ideas that appeal to me, but the focus seems to be diametrically opposed to how I would have done it. Less metaphysics, more world-building. If you're interested in feminist science fiction, however, this is rare example. You should at least give it a chance if you're interested in such things. Perhaps you'll be more intrigued by the themes than I was.

Making a believable science fiction film is hard. Making a believable science fiction film on a low-budget is nearly impossible. Well at least it used to be until director Jennifer Phang came along and proved otherwise in her Sundance festival hit, Advantageous. Phang was able to create a futuristic world with minimum visual effects by altering mundane human perception. There are three important techniques she uses to achieve this effect.The first is the deceleration of time for background objects while objects in the foreground continue to move at a regular speed. This mixture of various speeds becomes a motif for understanding the futuristic world she presents to the audience.The second technique is the compression of space achieved by using telephoto and zoom lenses. The human eye perceives depth of field in three dimensions. Objects farther away are small and objects closer to us are big. This is normally replicated with a dolly shot in films where the camera physically tracks forwards or backwards. However, in Advantageous, the zoom lens is used to compress the space in front of us. The camera stays still and we simply get closer to the subject. This causes a flattening of space to the point our eyes are no longer able to perceive the distance between the foreground objects and background objects.The third technique Phang uses to create a believable science fiction world is silence. Yes I talk about silence a lot, but it does wonders. Our ears are not used to hearing complete and utter silence. In every moment, even at the quietest moments, we are subjected to some level of constant ambient noise. Whether it's coming from the Air Conditioner, the Fridge, the Wind, there's always something preventing us from experiencing complete silence. However, when we do finally get the chance and we see a character on a big screen screaming and crying in complete silence, our ears are hit with a new level of sensory experience. The new sensory experience is foreign to our ears and forces the audience to take the character he or she is watching out of his assumption of the character's world. This means, the audience finally recognizes that the character he or she is watching does not have the same sensory understanding of the world as he or she does.These three techniques were vital in Phang's ability to successfully create a sophisticated and at the same time genuine science fiction world on a low-budget.