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Whenever she is turned on or off, a logo reminds us that she is a product of Wallace Industries. She is a constant reminder to K that they are both constructed artificial beings. Joi is a sexbot slave that functions to explore K’s own sense of humanity and emotional development. No female character has a purpose that doesn’t serve a man. The film’s beautiful aesthetics aside, the world of Blade Runner 2049 is a misogynistic one where characters of colour are once again consigned to the periphery. While Zimmer is typically bombastic here, the score compliments the epic visuals to create a visceral experience. At other times it is an almost unbearable blare. The score from Hans Zimmer and Benjamin Wallfisch is sometimes poignant. In one particularly bewitching scene as Deckard and K brawl, holograms of Elvis and Marilyn Monroe flicker in the background in a nostalgic display of Las Vegas’ former excess. Deakins creates a story of colours, from the yellows of the Wallace headquarters to the reds of Las Vegas. Many frames are infused with a level of detail that will continue to satisfy with repeat viewings. The much-lauded retro-futurist visuals are a testament to cinematographer Roger Deakins, in his third collaboration with Villeneuve.
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Throughout the course of the film, Joi appears to develop genuine emotions for K, who can - and does - turn her off when she isn’t needed. Switching from appearances such as a 1950s housewife to a manic pixie dream girl, she is a built-to-order confidante, reminiscent of Spike Jonze’s sentient operating system in Her, although without the narrative depth. When at home, Agent K is comforted by Joi (Ana de Armas), a hologram he treats as a doting lover. And so, pursued by the ruthless Luv, Agent K must track down Deckard and the identity of the miracle child. This leads K to visit the headquarters of replicant manufacturer Niander Wallace (Jared Leto), whose steely servant Luv (Sylvia Hoeks) reveals that the remains belong to Rachael. While unsettling, Lieutenant Joshi (Robin Wright) orders Agent K to retire the child and remove all evidence as the knowledge that replicants can reproduce is far too dangerous. Set 30 years after Deckard escapes with Rachael, an obedient replicant Blade Runner, Agent K (Ryan Gosling), discovers the remains of another that died in child birth. To retain one’s directorial style in a franchise such as Blade Runner is no easy task. With questions of identity and humanity as central concerns, Blade Runner 2049 is no different. In Enemy, Jake Gyllenhaal plays a man seeking out an exact lookalike he spotted in a film. Prisoners is a “whodunnit” with Jack Gylleenhaal and Hugh Jackman, playing a detective and father respectively, desperately trying to find abducted children. In Arrival, we piece together Louise’s (Amy Adams) backstory as she learns to communicate with aliens.
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Many of Villeneuve’s films work as puzzles for the viewer. While this subservience of women may well be a critique of the dystopian politics of the Blade Runner universe, no female character is granted any significant agency. In one particularly disturbing scene, Deckard restrains Rachael and forcibly kisses her.