Oscar-winning director Bong Joon-ho returns to the sci-fi genre with Mickey 17, a bold, satirical exploration of humanity’s exploitation in the future. Known for his critically acclaimed films Snowpiercer and Okja, Bong once again uses expansive, allegorical storytelling, but this time, he leans heavily into exaggerated satire.
Set in a near-future world, Mickey 17 stars Robert Pattinson as Mickey Barnes, a desperate man burdened by debt who signs up to become an “expendable.” His role as an expendable astronaut means that when he dies, his body is regenerated, retaining his memories. The film’s premise revolves around a space exploration mission to colonize an ice-covered planet rich in minerals. Mickey’s task is to help scientists gather data on how extreme environmental factors affect the body.
By the time the film begins, Mickey has already died 16 times. The technology allowing his regeneration has been banned on Earth, making him a unique specimen among the crew. However, his fellow astronauts treat him as a mere dataset, only engaging with him to learn about the sensation of dying. Even the scientists overseeing the mission regard him with indifference, seeing him as little more than a tool for their research.
The situation takes a dramatic turn when Mickey is left for dead after an encounter with a colony of indigenous tentacled creatures. Upon his return to the ship, he is confronted by his replacement, Mickey 18—also played by Pattinson. The revelation that “multiples” are illegal sparks tension, with Mickey 18’s first instinct being to kill Mickey 17 to prevent further complications.
The film introduces a provocative philosophical dilemma: If Mickey 17 dies, will future versions of him continue based on Mickey 18’s memories, not his own? Unfortunately, this existential quandary is quickly sidelined as Bong shifts to a more overtly satirical narrative. Mickey 17 tackles the harsh realities of late-stage capitalism and its contempt for labor, offering pointed critiques of exploitation and the depersonalization of workers. A subplot featuring Mark Ruffalo as a politically ambitious leader further critiques demagoguery, with a clear nod to Trump-style populism.
While these themes are consistent with Bong’s style, Mickey 17 often feels heavy-handed, with Pattinson’s over-the-top performance making the satire harder to digest. The film’s broad approach, while relevant in today’s political climate, leaves little room for subtlety or deeper exploration of its core issues, opting instead for a loud, brash narrative that may alienate some viewers.
In contrast, On Falling, the debut film from Portuguese filmmaker Laura Carreira, offers a more nuanced, human exploration of the modern workforce. Set in an Amazon-like fulfillment center, the film follows Aurora (Joana Santos), a young Portuguese immigrant working in a high-pressure environment where every action is monitored and timed. The film examines how the relentless demands of the gig economy erode workers’ mental health and sense of self-worth.
Through Carreira’s precise direction, On Falling captures the quiet desperation of Aurora’s life. She endures a daily grind of picking and packing orders, her every move scrutinized for efficiency. Outside of work, she struggles to make ends meet, often going without food or basic necessities. In this stark portrayal, Carreira eschews melodrama, focusing instead on Aurora’s muted responses to a world where personal connection is overshadowed by the pressures of financial survival.
Carreira’s ability to convey the crushing reality of Aurora’s life is evident in the film’s powerful imagery, such as the haunting shot of a cardboard package endlessly circulating on a conveyor belt, a metaphor for the futility of her existence. Yet, On Falling also highlights moments of humanity and kindness that offer small glimpses of hope amidst the bleakness. This nuanced approach makes On Falling a timely and poignant commentary on the human cost of convenience in a world increasingly driven by automation and corporate efficiency.
While Bong Joon-ho’s Mickey 17 opts for broad satire and exaggerated social critique, Laura Carreira’s On Falling provides a more intimate and reflective look at the struggles of the modern worker. Both films are timely reflections on contemporary life, but On Falling succeeds in capturing the emotional toll of exploitation with greater subtlety and depth.
Both Mickey 17 and On Falling open in cinemas on March 7.
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