Matrix Resurrections The Red Pill was a Love Kiss

‘Matrix’, the first, has been installed in the condition of a modern classic. So Lana Wachowski has articulated this script from a structure that almost mirrors that of that one.

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 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 …

In its opening bars, ‘Matrix Resurrections’ takes the paths of genius. Writing a sequel is a challenge, because its only purpose is to satisfy an audience that has already been delivered after a successful first part. Missing, in the sequels, the undeniable creative drive, and the element of surprise, that vertigo where the artist falls in love with his project and dreams of an impressive reception. In the sequel, it is already believed on the familiar, a bit out of inertia, perhaps instigated by a producer who wants to earn more money.

One succeeds in breaking down, ultimately. With an entire puzzling trilogy behind it (it’s not clear that anyone in the world really understands the entire plot), making a quarter of ‘The Matrix’ was tricky. You have to imagine the scriptwriters mulling over the very concept of a sequel, the nostalgia for success, the suicidal expectation in which they are embarked.

Lana Wachowsky and writers David Mitchell and Aleksandar Hemon did in the opening pages of their script the most postmodern thing of all: telling the public precisely that writing ‘The Matrix 4’ is difficult.

Thus, in the first half hour of ‘Matrix Resurrections’ we witness an exciting metafictional twist according to which ‘Matrix’ was a video game, Thomas Anderson its creator and Trinity a woman with whom he was in love, but with whom he had never spoken. Now the entire Anderson team must create a quarter of that video game. The ‘Matrix’ never existed, therefore, except as fiction for ‘gamers’.

In this way, even having seen the trailer, ‘Matrix 4’ could move towards a story where no one flies, no one stops bullets and no one punches walls. A good story, even, about fiction and reality, about the dependence that a creator has on the fans of his work. Not in vain, jokes and very insightful comments are made in relation to the legion of followers that ‘The Matrix’ has, the video game (that is, the movie), and about the convenience of putting a new trilogy on the market.

This sophisticated approach to the material available to the scriptwriters was not on the way to bursting the box office, of course, so that we immediately entered the ‘Matrix’ world as we know it, with the essential display of dozens of characters, new or recovered, and electric and decadent stages. There the thing begins to capsize.

First, because there is no plot, other than ‘liberating’ Trinity from the capsule of disgusting goo from which she dreams that she is happily married with two children. All the adventures to achieve this goal muddy the film in long minutes where it tries to explain to the public things that the public, in any case, will not understand. How to ‘free’ a human without giving him a choice between the red pill and the blue pill? Dozens of unpleasant cables, a magic well and a “second brain” make up half an hour of cinematic DIY. Your interest is a bit the same as contemplating half an hour of DIY for real.

Second, because the secret motivation of this entire fourth part of ‘Matrix’ does not seem to be other than correction. Lana Wachovsky shot ‘The Matrix’ in 1999 with her brother, when they were both men. Years later, the two decided to change their sex, and now Lana watches ‘The Matrix’, her great work, and sees it as too masculine and heteropatriarchal.

 

Reviewer overview

Matrix Resurrections The Red Pill was a Love Kiss - /10

Summary

‘Matrix’, the first, has been installed in the condition of a modern classic. So Lana Wachowski has articulated this script from a structure that almost mirrors that of that one.

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