Love Me Techno

There’s a misconception that the term “independent cinema” is a reference to the style of obtuse, experimental filmmaking that’s only enjoyed by those with a passion for the art form. The majority of indie films released that have been breakthrough successes represent the types of projects that major studios have seemingly forgotten in their quest to churn out superhero stories. A Real Pain has more in common with Planes, Trains and Automobiles than it does with esoteric international cinema, and even a film as visceral as Anora is the closest thing that today’s audiences have to Pretty Woman. Still, undefinable projects still pop up every now and then, and the science fiction dramedy Love Me is among the most radical experiments in recent memory.

Love Me is set at an undetermined point in the distant future in which all evidence of humanity has been erased. Unlike the post-apocalyptic stories seen in franchises like Mad Max or The Hunger Games, the future of Love Me bears nothing in common with any recognizable version of Earth; essentially, the film couldve taken place several millions of years in the past. The sun may have set on mankind, but there are still remnants of technology that seek to emulate human behavior. A satellite that’s orbited Earth for generations was only intended to deliver basic information on the planet’s ecosystems in the case that an alien civilization ever breached contact. This satellite, which is referred to with the moniker “Iam,” is complicated after an encounter with an artificially intelligent buoy, which has referred to itself as “Me.”

Gender and identity aren’t concepts that these simplistic pieces of technology can comprehend, but their eventual development of personal pronouns is indication that they achieved self-actualization. The opening third of Love Me isn’t dissimilar from the primal, arcane narrative of sci-fi animation like WALL-E, or even the cult classic Fantastic Planet. However, a more familiar structure is identified after both Iam and Me access their respective memory banks. A majority of the film is centered on interactions that they share that use human avatars, embodied by Steven Yeun and Kristen Stewart, respectively. Yeun and Stewart also embody the humans Liam and Deja, respectively, which Iam and Me look to for inspiration. At times, the distinction between the artificial simulation and the legitimate archival footage becomes indistinguishable. It’s not a subtle commentary about the ease at which artificial intelligence has grown more powerful.

Love Me is the first feature film written and directed by Sam and Andy Zuchero, and has all the distinctions of a debut project. The degree to which digital interactions are within the film’s version of the future would have only ever been possible through the creative oversight of artists that have lived through the Internet age, as Love Me doesn’t contain any overarching cynicism about how quickly all forms of communication are made online. Science fiction has always warned about the perils of machines becoming monsters, as even more empathetic classics like Blade Runner or A.I. Artificial Intelligence contain warnings about how the human experience isn’t replicable. Love Me isn’t interested in an argument in favor of the more widespread integration of artificial intelligence. Rather, it’s whether these programs would be able to pick up where humanity ended in the wake of a cataclysmic event.

Although the curiosity within Love Me is what makes it such a novelty, the story of two sentient objects that attain consciousness is a far more interesting concept in theory than practice. The conversations that Iam and Me have barely scratch the surface of what could be overheard in a freshman philosophy course, as far too much emphasis is placed on phrasing and discovery. This is an Earth that’s devoid of any real context, as both objects have only a limited amount of data they’re able to reference for information about the generations that preceded them. This makes for a dull series of conversations that can only refer to existentialism themes in the abstract. It doesn’t help that the visuals are uncreative.

It’s either the film’s greatest success or biggest mistake that Stewart and Yeun’s scenes together are electrifying, as these two charismatic stars are capable of making even the most turgid of dialogue feel compelling. Nonetheless, sparse scenes in which they appear tease a much more interesting story about guileless consciousnesses that are forced to take human form. Even the scenes that’re devoid of the science fiction context suggest that Stewart and Yeun would have worked well together in a straightforward romantic drama. Although the incorporation of such famous faces will aid in making Love Me more suggestable to a non-cinephile audience, it’s still unlikely that a film so deliberately idiosyncratic would ever have significant box office appeal.

Studios often look to film festivals like Sundance to pick up smaller titles for their awards roster, but Love Me is destined to be an object of cult fascination. There are some that will find it brilliant, but it’s mystifying as to what the film is hoping to accomplish; there aren’t any truisms about human nature that emerge, and the non-organic nature of the characters is a barrier to any serious emotional impact. Nonetheless, it’s admirable how unapologetic Love Me is. Even though it’s a film centered on artificial intelligence, it’s the work of artists that strive for complete originality.