On the subject of his cloning experiments ( A Last Time for Everything) Goodchild says to Aeon: “My work offends you. Peo pled with mutant creatures, clones, and robots, it features disturbing images of dismemberment, mutilation, violent deaths and human experimentation as Chung explores post-modern notions of cloning, mind and body manipulation, and evolution through a series of subversive aggressively non-narrative pieces. Chung’s innovative use of “camera angles” reminiscient of cinematography, together with a spare, graphic choreography, portrays a sprawling Orwellian industrial world. Bregna is a centralized scientific-planned society and Monica is Bregna’s ‘evil twin’, an anarchistic society. Chung’s avante garde series is set mostly in a surrealistic dark future Earth (presumably) where two communities, Bregna and Monica, are juxtaposed but separated by a wall (not unlike East and West Berlin). Original and movie adaptation also share at their core the exploration of the consequences and ambiguities of choices in life and the role that nature plays, subversive or otherwise.Īlthough they share recognizable motifs and characters, the 2005 movie adaptation contrasts in some important ways from the six 5-minute shorts of 1991 and 10 half-hour episode TV series that aired in 1995. While admitting that the motion picture version was only based on Peter Chung’s characters (check the credits), Karyn K usama intended to “honor wierdness in spirit and…pay homage to its esoteric boldness and…strange energy.” Homages to the animated series include: Aeon’s signature fly-catching with her eyelashes, demonstrating a woman extremely in tune with her body Monican anarchists (though in the film they are subversives within Bregna rather than from an adjacent society) a virus that kills off most of the population and assassination attempt on Goodchild ( Pilot) the harness worn on the torso that transports the wearer to another dimension ( Utopia or Deuteranopia?) passing secret messages through a french kiss ( Gravity) issues of cloning and two colleagues crossing a weaponized no-man’s land together ( A Last Time for Everything). What follows is a fast-paced yet thoughtful story, with elements of romance, that explores notions of longevity, social structure and connection, faith and greed to a satisfying end.įans of Peter Chung’s baroquely violent animated Aeon Flux will recognize some similarities between Kusama’s 2005 film adaptation and the original MTV cartoon. The reflective narrative of the motion picture is meant to enlighten its audience that this is not your ordinary action thriller. It is noteworthy that in the original animated series, Trevor Goodchild often frames each episode with his reflections only fitting that Aeon gets her chance in the film version. I found that it particularly worked, by adding a reflective literary quality to the motion picture. I am one of them.” Several critics disliked the narrative introduction. People disappear and our government denies these crimes…But there are rebels who…fight for the disappeared. “Some call Bregna the perfect society,” Aeon tells us in the opening scenes of the motion picture, “Some call it the height of human civilization…but others know better…We are haunted by sorrows we cannot name.
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