Blade Runner 2049 (2017) **Spoilers Ahead**
Blade Runner 2049 where do I start. While snuggled up in bed on a chilly night at 2 AM, I decided this would be the time to dive into a three-hour movie. Despite the plot being slightly confusing (especially for those who have not seen the original Blade Runner) this is one of the best sci-fi movies to come out in a long time and one of the best movies ever. I absolutely cannot wait for Blade Runner 2099 to be released. Directed by Dennis Villeneuve this movie received 88% on Rotten Tomatoes from critics and 88% from audiences with a budget of $150-185M grossing $267.5M at the box office worldwide.
Starring Ryan Gosling as Officer K a blade runner for the Los Angeles Police Department. Blade Runner 2049 is set at some point in the future under a perpetual rainfall with bright and colorful advertisements scattered about. Set 30 years after the events of Blade Runner (1982), Officer K unveils a secret that ‘replicants’ can reproduce which was previously unheard of and has the potential to spark a war between humans and replicants. Tasked with retiring this replicant Officer K eventually seeks out Rick Deckard (Harrison Ford), a former blade runner who has been missing for 30 years.
Color theory is just that–a theory therefore for all intents and purposes commentary in this blog is subjective. Color and lighting are some of my favorite aspects of cinematography which is ironic given how much I adore black and white films. Although stories can still be told with shadows–something that cinematographer Roger Deakins plays into impeccably. That this movie is ‘neo-noir’ is perhaps why it is so beautiful with its combination of color and shadow play. This film has some of the most beautiful use of color, the low exposure paired with high saturation is chef’s kiss. It reminds me of the lights peeking through Times Square on a foggy night giving this dystopic quality with a drop of nostalgia fighting its way through. Paying attention to the colors and lighting is a great way to understand the narrative beyond character actions. For example, using orange/yellow tones with low exposure is unique. While yellow is typically associated with happiness, in this context it is paired with smog and pollution leaving themes of illness in its wake.
Melancholia plays spectacularly with Gosling’s acting and the camera shots. My favorite shot and perhaps one of the most notable scenes from the movie is towards the end when Officer K and his AI girlfriend Joi (Ana de Armas) meet out on a balcony. Notably, there is no music just the pitter-patter of raindrops. Armas and Gosling are framed symmetrically with Joi hovering ever so slightly over Officer K. Swirls of pink and purple take over the frame; “You look lonely” Joi says in a dreamy voice “I can fix that.” This scene is so simple in composition, little action or dialogue occurs but it tells so much about the characters’ emotions especially Officer K. Additionally, this is a beautiful example of mise-en-scene elements coming together seamlessly: the colors, lighting, and framing are a given but even down to the costuming and bandages across Officer K’s nose I would argue that this is one of the greatest scenes in cinematic history.
In conclusion, this movie is absolutely worth the watch if you’re a fan of Ryan Gosling or love sci-fi and are interested in color theory. You will certainly be kept on your toes right through the end, a puzzle to say the least that gives small pieces of an ambiguous nature. The Hans Zimmer conducted soundtrack is phenomenal and worth the listen if nothing else–the man can do no wrong. All in all this movie gets 5/5 stars for expertly combining all cinematical elements together.
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