To know or not to know. Taking the blue pill, the one that will make you a happy slave in your ignorance of being part of a computer program in which there is no free will, even if it seems like it, and being able to savor a delicious and perfect steak, but false; or to decide on the red pill, that of the rebels, those willing to live in poverty eating filthy porridge every day, but facing the designers of the world of unreality and knowing that each decision is their own.
Technology, cyberpunk, action, martial arts, philosophy and religion came together in Matrix (1999), a fundamental film in the passage between the 20th and 21st centuries, turned into a saga with two sequels released in 2003. It was not difficult to see aspects of the theories of Plato and Descartes; Neo, its protagonist, as a Chosen Jesus Christ, Morpheus as John the Baptist and, in the second installment, a Judas ready to deliver the Messiah to his enemies. Its creators, the Wachowski sisters, connected with all kinds of audiences because their bet could be seen at different levels, depending on the desire of each viewer to delve into a (sometimes) indecipherable, and also successively whimsical, universe of references and originalities. Two decades later it comes to us Matrix Resurrections, fourth and late delivery, only with one of the sisters at the helm, Lana. An uneven film that begins unprejudiced and self-referential, happily comic in its nods to the phenomenon that the first three installments represented, but that gets stuck in the central core with an endless string of explanations of the inexplicable.
In that first stretch, Mr. Anderson, the character of Keanu Reeves, is the creator of a historically successful video game called Matrix, overwhelmed by some psychological problems that have led him not to finish distinguishing reality from his fiction. That’s where the metalinguistic winks begin: “Warner Brothers has asked us for a fourth version of the video game. They have told us: ‘Either you do it, or we entrust it to others ”. To what extent this dialogue in the film is taken from a possible reality extrinsic to the story of Matrix and related to the Wachowski, or however it is pure fiction, it is almost the least of it. The best thing is that it works within a gear in which nothing is what it seems.
Eighteen years after the second and third parts, hardly anyone except the very fanatical remembers Reloaded, with its endless downtime and parallel plots in the city of Zion, nor of Revolutions. Matrix, the original, on the other hand, has been installed in the condition of a modern classic. So Lana, also a screenwriter for Resurrections, has articulated it from a structure that almost mirrors that of the former, and which in a certain sense may even seem like a remake unconfessed. In fact, both begin and end exactly the same, although with an essential change in their outcome, in which Wachowski has put all her heart as a woman, thus culminating a last quarter of an hour of story that leaves better sensations than its excessively confusing central axis .
It is in this phase when the film enters a sinkhole of continuous revolts that leads its author to give too many explanations, turning it into a film that does not count or pass, but is simply clarifying all the time. And even so, it is not quite understood. Now as in Reloaded, the emotional key is finally in something much more basic, physical and understandable: in a love kiss, and in the relationship between Neo and Trinity, here praised once again by the great chemistry between Reeves and Carrie-Anne Moss, both of a fascinating natural beauty in its maturity, and in whose exchanges and dialogues it finds Resurrections his best moments.
All the culture that goes with you awaits you here.
Direction: Lana Wachowski.
Interpreters: Keau Reeves, Carrie-Anne Moss, Yahya Abdul-Mateen II, Jonathan Groff, Neil Patrick Harris.
Gender: Science fiction. United States, 2021.
Duration: 148 minutes.
Premiere: December 22.
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George Holan is chief editor at Plainsmen Post and has articles published in many notable publications in the last decade.