🔴 Stream Fantastic Nick Offerman And Karl Glusman In Devs (2020) Watch 4k Online
Date: 2020-03-12 12:08:26
Viewed: 137 times - 13 hour, 2 minute, 39 second ago
49-year-old Alex Garland seems fascinated by the extremes of love and guilt. With his intellectual science fiction films, including Annihilation (the review), Ex Machina and 28 Days Later, he has earned a solid reputation for writing and directing extraordinarily distressing stories. But, although his works may surprise the public with dramatic images and horrific scenarios involving zombies and monstrous alien creatures, they always have a deeply human core. This dynamic continues now in the fanta-thriller miniseries Devs, previewed on Hulu (in agreement with FX).
"It is an extraordinary thing how far love will take you. The road you will travel. The distances you will push yourself to, ”says the tormented Forest tech tycoon (Nick Offerman, Parks and Recreation) at some point on the show. The man lost his young daughter in a car accident for which he is responsible, and has become almost mad about guilt. He is seeking salvation through the Devs, a mysterious and top secret project that recruits America's best and brightest programmers.
However, he is not the only character guided in his actions by lost love. Devs follows most of the time Lily Chan (Sonoya Mizuno, Ex Machina and Maniac), a cryptography expert who works for the very Google-like company of Forest, Amaya, together with her boyfriend programmer of Artificial Intelligence Sergei ( Karl Glusman). When the latter disappears shortly after joining the Devs, Lily's quest to find out what happened to him takes her down a dangerous path, where she learns about the true nature of the Devs and what Forest is willing to do to protect the program. Seeking help, Lily thus recruits her ex-boyfriend Jamie (Jin Ha), who has never stopped loving her and hopes to prove that she is worthy of a second chance.
Anchoring the story to intoxicating emotions like love and guilt might seem like a perfect recipe for a melodrama, but the performances are largely attenuated, which makes the few bursts of true passion or fear truly impressive in comparison. 33-year-old Sonoya Mizuno subtly conveys a wide range of sensations, whether she is staring at Forest's partner Katie (Alison Pill, Star Trek: Picard) with a hard stare while asking for answers, or simply expressing a quiet exasperation and solitude as she sits in his empty apartment and lies to his mother about how many friends he really has.
Alison Pill is particularly disturbing, almost inhumanly impassive in the face of terrible violence and incredible dramatic revelations. Nick Offerman was instead a brilliant casting choice, if only based on the imposing paternal quality he showed in Parks and Recreation (in alternate phases, he is a brilliant hippie or a power-hungry nihilist.) Likewise, Zach Grenier it increases the malice he has shown as a recurring antagonist in the series The Good Wife to become truly terrifying in Devs in the role of security chief of Amaya, Kenton.
These unpleasant performances are accompanied by visual choices, which juxtapose the religious iconography with the atmosphere of a university campus of a San Francisco technology company. The path that leads to the center of the Devs presents sequoias surrounded by LED halos, and the project itself is housed in a structure perpetually immersed in the dazzling golden light, where scientific experiments are performed on a laboratory table that remembers remarkably an altar of pure gold.
In Sunshine and Annihilation, Alex Garland had previously explored the clash between science and religion and how the human mind moves in the face of forces beyond its understanding. In Devs, he delves further into that conflict. However, the less we talk about the plot, the better, since much of the series revolves around the slow unveiling of its central mystery. The story has a significant creative debt with the Matrix trilogy, sharing its use of religious symbolism and focusing on the philosophical and existentialist implications of immersive computer simulations.
However, the director shuns the action, in favor of the psychological tension and the fantastic analyzes that make Devs a product that more reminiscent of Arrival by Denis Villeneuve. The show begins as a conspiracy thriller involving international spies and extraordinarily accurate hacking representations, but soon evolves into a deeply philosophical story about the nature of the universe, determinism and free will.
The steady pace can be daunting for some and at least one of the 8 total episodes of about 45 minutes in the series could have easily been shortened if Alex Garland had devoted less to shooting the noisy traffic in San Francisco or the Amaya campus, albeit images necessary to establish the general mood, however accompanied by liturgical or painfully atonal music. We are facing a high-level TV in all its decadence, methodically built like a medieval cathedral. The showrunner asks the audience to believe that if he continues to watch, the pieces will come together to produce something absolutely fascinating and inspiring.
In the end, this is indeed true, but viewers must be willing to accept the tortuous path to 'reward', which includes literal lessons on quantum physics, extensive close-ups on people who react to a mysterious experiment involving a dead mouse and a character. minor who recites verses by William B. Yeats to let the viewer know that the situation is about to precipitate. The plot and action are distributed sparingly, but the miniseries' reduced (and self-contained) format guarantees if nothing else that everything will be revealed in due course, which puts it ahead of many other dramas in which screenwriters have to drag themselves forward until plays hold up.
The plot occasionally "drifts", to touch on issues related to hot and current issues such as cyber espionage and the outsized power that technology companies exert on American politics. These sub-strands are however set aside almost as quickly as they are thrown in the middle of the narrative, but in any case they help to build and enrich the complex network of relationships that guarantees the emotional core of the series.
They are also needed to frame the problems that Alex Garland is really trying to explore in Devs, which are the same ones that have defined his film career to date, in a brazen, daring, passionately curious way, which challenge his 'followers' .
At one point, the egoist Forest mentions that Homo sapiens spent 5,000 years living in caves and painting their walls with variations of the same images. Our species has evolved slowly, and now exists in a world where technology forces us to adapt to fundamental technological and social changes over the course of a few months or even just a few weeks. We may think that our intellect allows us to process these progress and manage any crisis, but we are still governed by primordial emotions. Love and pain make us irrational, pushing us to perform actions that we would not otherwise carry out. Faced with alien forces, apocalyptic plagues or the fundamental laws of the universe, Alex Garland argues that human nature will always force us to reject them. It may not be healthy, or even sensible, but that's who we are.
For clarification on the meaning of the ending, we refer you to our in-depth analysis (with the explanation of Alex Garland himself).
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