The iconic LED geisha munching candies on the side of a skyscraper in the original , walking commercials that stalk Los Angeles like benign Godzillas.
They’re women, because looking at women is a universal pastime; they’re sexualized, because sex sells, baby.
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That all seems a little ’s David, obsessed with his mother to the eventual point of self-destruction, must enter the huge, parted red lips of Rouge City’s blow job–themed bridge in order to find the secret to being her son once again.
And that’s to say nothing of Ryan Gosling’s K, whose entire adventure in 2049 begins with the discovery of a dead mom in a box, and is fueled by the possibility that she actually might be dead mom.
This is not a film that was ever going to be interested in anything but familiar, even old-fashioned sexual politics, and I don’t want to spend too much time criticizing Villeneuve for his performance in a game he clearly wasn’t even playing.
I just mean to point out that his use of female bodies as figureheads, these massive gaping-mouthed infertility idols, are not empty or neutral creative choices.
It would certainly make for a great image, though, and I’d bet money somewhere on the internet someone’s working on bringing it to fruition.
For David (Haley Joel Osment) an android boy preoccupied with winning back the love of his mother, Rouge City is full of maternal possibilities, as evidenced by the giant pair of splayed female legs that welcome him at the entrance.
’s men of science and industry gazed up at the gigantic bust of mother figure Hel, the future cities of the cinema have had a thing for giant ladies.
“You can’t have one without the other,” male filmmakers tell us with a solemn, regretful shrug.
I’d take a wild, semi-educated guess that future-city movies are second only to Westerns for scenes set in brothels and red-light districts.
The girl told investigators the man took off her pants before removing his own clothing, then sexually assaulted her.