Love. The birth of love. This is what I see in this film and I think it is genius. "Switched On Syndrome" is what it is called in this futuristic society, when individuals not allowed to have any emotions, begin to feel. This disease then progresses in stages, stage 4 progressing to bring "cancelled", then being sent to The Den, after which individuals disappear forever. Many individuals, in order to avoid this, committee suicide. The title refers to the so called "cure", Ashby ENI, after which affected individuals reintegrate themselves into The Collective, the world of equals, those that do not feel. The performances in this film are underrated, especially Kristen Stewart. As her character says early on, it takes an incredible amount of practice and restrain in order to not let her emotions show (she is a "hider" in the otherwise emotionless utopia). The same goes for the actors and actresses. I feel critics underestimated what it actually takes. A straight face, no significant body language, stoic movements, a completely neutral tone of voice. The other formidable aspect of this film is the mise en scène: the sleek color scheme, the lighting, the muted profiles, the clever silhouette use, the switch from all white to the masterful technique of montages, stolen smiles, glances, tears, physical contact, music, colors. Critical reception was not great. I guess many of the critics did not like the mundane, the slow pace; the not completely believable, captivating, intelligent, or even logical universe. Well, that is why most individuals do not appreciate many of the international films that I do. I am not typically a science fiction fan, nor of the future assist Society apocalyptic film. For the reasons stated above, this one was an exception. **** Spoilers **** What I did hate was the ending. Nia and Silas are planning to escape to The Peninsula, somewhere untracked where they could love freely, but the day before they plan to leave, Nia is summoned, tested, and found to be pregnant. She is taken to The Den, eventually escapes with underground help, but finds Silas a little late. À la Shakespeare, he was told she died by asphyxiation, almost commits suicide, but instead decides to receive the cure. He no longer loves her, though he claims to remember what it felt like. He decides to leave with Nia anyways. In the train, he moves to hold her hand. Curtain. I am not a fan of happy endings, all things tied up with a pretty bow, but I am a fan of realistic endings that are sad because they need to be or should be. There is no reason for the depressing ending here, however. Director Drake Doremus redeems it slightly with the hand hold. Nia is still pregnant as far as we know. But not quite enough for me.

This science fiction classic mirrors 1984 in a future society where relationships are illegal. In both stories the reason why emotions are shunned is only vaguely explained, but, in both cases, one presumes this is because it is the only way resources can be effectively mobilized to ensure society survives. In both cases civilization has come back from the brink of disaster in a very different form. In 1984 people were inspired to work by patriotic newscasts of a gigantic war. In Equals people are inspired by the need of society to seek resources from outer space.Considerable thought has gone into this gem. The dialogue is sparing but brimming with heart. The leads are beautiful even in their pared back uniforms. There is just enough variety in the uniforms to imply a high degree of psychology. Touches such as amazing looking meals, the allowance of artistic impressions and puzzles for mass media, apparently lax computer access and brilliantly conceived, and beautiful, architecture and interior design, all lend probability and sincerity to the world and the story that emerges from it. Suicide exists and is accepted. Punishment and enforcement are vague. There is only token caution rather than stigma attached to major illness. This is rote kindness and visual perfection as horror.I've already given too much away. This is must-see viewing for science fiction fans.

I just need a second part, It could be a short history,I don't care... I just need to Know how they lives goes after escape... please!!I felt in love with the history and I was so sad he get the cure, but he go with her any way,and sorry, mi English is so bad

This movie feels like a blend of Equilibrium and Gattaca, to me. Equilibrium, because this is a dystopian society where it's wrong to feel emotions, and the world and wardrobe have the feel of Gattaca. Not much happens in this movie, and the pacing is slow. I know this sounds bad, and it would have been if not for the stellar chemistry between Kristen Stewart (Nia) and Nicholas Hoult (Silas).This was the only redeeming aspect of the movie for me, and I think their chemistry may have been the entire point. By the end I was so vested in their relationship, I could feel the desire when they would look at each other and couldn't act on it, and feel their pain when they were apart.The thought of being an adult and never knowing love. It's hard to imagine, but they captured it, and when they began to experience these feelings and sneak off to be together, watching them slowly touch, kiss... I don't recall them speaking much, but it was so beautiful I couldn't look away. The camera angles were great, visualizing fingertips, heaving breaths, zoomed in tight, at all the right angles. While sexual in away, their interactions were still innocent, childlike. It tapped into memories of my first experiences as a teen with my high school sweetheart, and how thrilling it was at the time. There is an interesting twist at the end, and if the movie resonates with you the way it did me, you will totally get it, and it will both break and warm your heart. Six stars for being an overused premise, but if you are into this kind of movie it's well worth the watch.