“人間が私たちを捨てたんじゃない。私たちが捨てる。”
ときは23世紀――西暦2200年。地球での仕事を終え、活動拠点である火星に戻ってきた私立探偵 アリーヌ 。「行方不明になっている大学生の娘を探してほしい」という男の依頼を受けて、アンドロイドの相棒 カルロス と共に捜索を開始する。調査の過程で、火星の首都ノクティスの暗部に足を踏み入れていく二人を待ち受けていたのは、腐敗した街の裏側、強大な権力を持つ企業の陰謀、そして人間とロボットが共存する社会の根幹を揺るがす事態だった。
製作費: $7,900,000 (12億円)
興行収入: $1,455,713 (2億円)
推定収支: $-6,444,287 (-10億円)
※製作費・興行収入はTMDBのデータを参照しています。収支は(興行収入 - 製作費)で算出したFindKey独自の推定値であり、広告宣伝費や諸経費は含まれません (1ドル=150円換算)。
FindKeyのエディトリアルチームがこの作品の深層や歴史を解説しています。
By the 23rd century, Mars has been colonised by humanity thanks to advanced android technology. It’s here that private investigator “Aline” and her robotic counterpart “Carlos” have been hired to track down an hacker by the gazillionaire owner of one of the leading tech companies. Pretty swiftly they realise that this is going to be a dangerous and duplicitous business and they are soon embroiled in something altogether more internecine and sinister. Now the plot here isn’t the most original, indeed for much of the first hour is does scream “I, Robot” (2004) at us, but then it embarks on something more original as the concept of brain farming is introduced. This is essentially the harvesting of excess brain capacity from people who are selling their cerebral processing capacity to help create the ultimate in AI. The question is, why and who for? Moreover, as this duo dig deeper they begin to discover some uncomfortable truths about the evolving dynamic in the relationship between human beings and their supposedly subservient automated creations. The animation is stylish and there’s plenty of shoot-out action for ninety minutes here, but it’s really the philosophy that helps this stand out. It challenges so many assumptions about a master/servant relationship and delivers a denouement that I found to be sensibly apposite. It packs quite a bit of thought and creativity into it and is well worth a watch.
