#CARLA JURI AS DR. ANA STELLINE FREE#

The photos of his family are gone, the only photo he has is of Rachael which he keeps in his penthouse suite, next to the toy carvings he makes for the child he abandoned. The piano is Deckard’s way to keep the memory of Rachael alive and to express the thoughts he no longer has to keep hidden-note the written music on top of the piano. The second piano is in the casino where K finds Deckard. Creative thinking is a dangerous occupation, unless you are Dr. There is no better way for Sapper to hide from law enforcement than by having no other pursuits to arouse suspicion. The meaning of this is twofold: as well as Sapper keeping the baby’s existence secret, it also effectively makes the piano useless.

Opening the top of the piano, K finds a little box containing a child’s sock and a photo of a woman holding a baby. First in Replicant Sapper’s farmhouse, where K notices a depressed piano key.

#CARLA JURI AS DR. ANA STELLINE FREE#

The piano as a symbol of breaking free from repression carries over into 2049. Deckard’s internal conflict is still unresolved in 2049: when Wallace asks Deckard if he was created or not, he whimpers teary-eyed “I know what is real”. When Deckard then moves to kiss her neck, it is partly lust, but also because by playing his music it makes him feel grounded in this reality rather than doubting himself. Rachael admits that because of memory implants, she is not sure whether it was her who had piano lessons or Tyrell’s niece? By alluding to innate memories or abilities coming from nowhere, the nature of Deckard is called into question. Deckard tells her that the music came to him in a dream.

Later on Rachael starts to play the music which Deckard has written. Above the piano sits some very old Victorian black and white photos-presumably of his family-amongst sheet music the photos are incongruous with the 2019 setting and there is no other sign of any other familial possessions in the flat, almost like they aren’t memories but planted there.

The disbelief is written in Deckard’s face, trying to reconcile this fantastical vision with his dreary reality. This idea was seeded in Blade Runner: The Final Cut, with Deckard’s internal conflict about his identity: drunkenly hitting one note of the piano whilst recalling a memory of a Unicorn running through a wood. Inevitably in a climate of oppression, an Orwellian fear of your own thoughts sets in. Ana Stelline who makes artificial memories for Replicants that feel authentic. The three most powerful characters in 2049 are those who can- almost-dream without censure: Wallace who dreams of conquering the universe with a limitless amount of Replicant slaves, Freysa who dreams of a violent Replicant revolution, and Dr. Also holograms like Joi are one system update, or one accidental drop of their emanator down the toilet, short of being wiped.

Blade Runner K cannot be paid until he meets “baseline”: a test to make sure he shows no human emotions. Most of the characters in the world of Blade Runner live on a knife edge. So first, we should explore how the dystopia affects all characters, whether they are male, female, Replicant or undecided. Isn’t It?īefore we explore this issue, it is important to acknowledge that in both Blade Runner films, like most film noir, freedom is a dangerous thing to hope for. Fair enough, but in showing us the cruelty of an oppressive system, does 2049 present us with rounded female characters or grotty avatars for the male viewers to project their fantasies onto? It’s Okay to Dream a Little. Director Denis Villeneuve politely dismissed criticisms on the basis that for all the progress we have made, our world is “not kind to women”. Blade Runner 2049 is an impressive looking film and one of great depth, however a common criticism is that its depiction of misogynistic culture, rather than exploring the female experience, is voyeuristic.

Carla juri as dr. ana stelline