The Conversation is a feature at PopOptiq bringing together Drew Morton and …
An alien lifeform comes to Earth disguised as a beautiful woman, to prey on unwary human males, seducing them and luring them to their doom. Nine times out of ten, a premise like that of Under the Skin would produce a crass, low brow skin flick, psuedo-porn masquerading as science fiction. But director Jonathan Glazer seems to know this, and has performed the same bait and switch as the alien in the film, luring audiences in with the promise of eroticism and dropping them unawares into a disorienting, frightening landscape. But unlike the poor saps of the film, victims of Glazer’s seduction will come out with their internal organs still safe and sound in their body cavities, and a truly unique film experience to reflect on.
While for a long time science-fiction has been something of a secondary genre, the current age of effects-heavy summer blockbusters has turned sci-fi cinema into big business, with movies about aliens, robots and men in spaceships having exciting space adventures among the most hyped and publicized films of the year, with trailers, billboards, comic-con panels, tv spots and every form of advertising imaginable creating anticipation months or more in advance.
Finding the reason for Akira’s resonance with all manner of audiences is not particularly difficult, since it is the zenith of great narrative-meets-dreamlike philosophical reality bending. For all that it blurs the lines of established faux-reality and fantasy, science-fiction and existentialism, it is ultimately a film about the fatal danger posed by one’s own anger.