When Techno-Orientalism Meets Cosmopolitanism — “The Creator” (2023) Review
Cultural takes on dystopian future sci-fi original blockbuster The Creator by Gareth Edwards
“Finally… a mid-budget original blockbuster!” That was my immediate reaction upon hearing the announcement of The Creator. I understand that my response might be somewhat controversial, but allow me to explain further.
The production budget for The Creator stood at 80 million USD. Although some argued that mid-budget Hollywood movies ranged to 75 million, I personally consider it mid-budget, especially when compared to contemporary blockbuster franchises.
Furthermore, I must acknowledge that it isn’t entirely original, as the creator, Gareth Edwards, openly drew inspiration from works like Star Wars and Blade Runner (also from Pinterest boards). I suspiciously presumed this film had some influence from the game Stray (2022) because of a particularly similar design on the slum landscape and robot costume.
However, I perceive a deeper layer of political and cultural commentary in this film.
The Creator is a sci-fi film that depicts a dystopian future warfare of the human race (represented by the United States, ironically) vs. Artificial Intelligence and their sympathizers, primarily based in Asia, referred to as New Asia in the movie. The film’s focus lies on the US military campaign in New Southeast Asia, aiming to assassinate AI’s supreme, years after humanity’s victory over AI.
What makes this film fascinating relies on realistically detailed world-building. The plot offers uncertainty in the wartime and social gap between robots, some of the beings have a humanoid appearance and are referred to as "Simulants," while the others’ heads are simply formed in the shape of double-barrels.
Set entirely in Asia, predominantly showcasing Indochina, the film comfortably falls into the subgenre of Techno-Orientalism.
TECHNO-ORIENTALISM
Techno-Orientalism is a cultural concept often applied in fiction, portraying the Eastern world as either technologically underdeveloped or hyper-developed when viewed through Western society’s lens.
A prime example that illustrates the cultural regression of the Eastern can be found in films like Rambo, while a prime example representing the realm of highly advanced and speculative fiction is Blade Runner. Both were initially released in 1982, interestingly.
In Rambo, we often witness a portrayal of cultural regression, where the protagonist, John Rambo, is thrust into challenging and often chaotic situations, showcasing the breakdown of societal norms and values. This type of film typically underscores the loss of civilization and the descent into a more primal or brutal state.
Conversely, Blade Runner stands as a prime exemplar of speculative fiction that delves into the complexities of a futuristic world where advanced technology and artificial intelligence intersect with humanity. It offers a vision of a highly evolved and intricate society, exploring themes of identity, ethics, and the consequences of technological advancement on a profound level.
These two films represent distinct ends of the spectrum in terms of cultural and technological narratives in cinema.
How about The Creator? Which side is it?
Neither. This film doesn’t neatly align with either perspective. It navigates a more complex path.
To truly grasp this, we need to explore another dimension the film seeks to engage with cosmopolitanism.
COSMOPOLITANISM
Cosmopolitanism is the antithesis of Nationalism, emphasizing a broader perspective that prioritizes global interconnectedness, shared humanity, and a sense of global citizenship.
In the film, our protagonist, Joshua (John David Washington), begins as an undercover soldier on an espionage mission to uncover Nirmata, the guardian of AI’s existence. His journey takes a nihilistic turn following the death of his lover, Maya (Gemma Chan).
Re-recruited by the US government, which dangles the possibility of reuniting with his presumed-deceased wife, Joshua returns to New Southeast Asia in pursuit of Nirmata. His encounter with Alphie (Madeleine Yuna), a biological simulant AI child, triggers moral questioning. He grapples with the dilemma of saving the child for the sake of universal peace or killing him in the name of heroism for his country.
This philosophical struggle sets “The Creator” apart from previous Techno-Orientalist or sci-fi films. As Joshua’s identity crisis unfolds, the movie advocates for him to see himself as part of a global community while acknowledging his multiple identities, including his national identity.
The narrative might draw comparisons to James Cameron’s Avatar, where Jake Sully switches allegiance from the colonizer to the colonized. However, Joshua deals with postmodernist cosmopolitan values, emphasizing the diversity of cultures and perspectives in a globalized world.
In many ways, The Creator can be seen as a blend of Apocalypse Now and Blade Runner, offering viewers a cinematic experience reminiscent of the Vietnam War in a speculative futuristic sci-fi setting.
Another interesting point I want to praise The Creator is how it depicts AI in a spiritual way. I mean… You’ll see a bunch of religious robots in the film. As a Southeast Asian myself, I felt kind of tickled, in a good way, when I saw a scene of a robot preaching in front of kids with prayer beads in his hand and a shot where a robot rides a scooter bike.
Besides its effort to show AI emotionally, I thought this blend of philosophical, cultural and political ideas into a single work of art was one of the strongest ideas which The Creator could develop for further sequels.
But that all depends on which direction Edwards and his team will take.
