The mechanization of human beings has been completed, and the second part begins to explore the separation of pure body and soul. The human body in the biological sense is questioned about the meaning of existence. When everyone is still worried about the soul being injected into the puppet, the major is still Abandoning the human body, the pure soul can be embedded in any prosthetic body, a puppet, or even a piece of network information. This kind of thinking is realized with the help of extreme avant-garde technology, but the fact is back to the high worship of the soul and a certain degree of contempt for the body in the Middle Ages. Of course, this is not the position of everyone in the film, but because some people have reached this superlative level. leading edge into a delicate cycle.
From an aesthetic point of view, the second film has a more decadent, dirty and dark-tech-like sense of cyberpunk than the first, and many scenes are quite beautiful. The extensive use of Japanese traditional elements seems to have become a kind of curiosity, making people feel that it is a cyberpunk novel in Europe and the United States, turning the East (Japan, China) into an extrajudicial realm full of mystery and ancient and modern. Does Japan’s understanding of itself follow the traditional imagination of East Asia that originated in the West of cyberpunk literature? At least this kind of attachment of a large number of cultural elements is not seen in the first part, and it seems to become an orientalist paradox.
I don't know why the director of this film loves to drop the book bag so much, and the large number of references that cannot be integrated into the plot will only make people feel superfluous, cumbersome, and become procrastination.
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