Reading time: 2 min
Matrix Resurrections is obvious. Oddly obvious. Unexpected evidence from a blockbuster. Something like: this sequel was mandatory, as required by the law of the genre. And this fourth episode of the saga, which he indeed manages to “resuscitate”, does more than say and assume this evidence of the market, it makes it his subject and the object of his criticism. He engages in self-destruction in order to better transcend himself.
Life and death of the ” bullet time ”
A fantastic incongruity. This is what the film by Lana Wachowski is all about, which is presented primarily as a series of deconstructions . In the form of this question for example: Matrix was it ever an action movie? Yes, among other things, would we all tend to answer.
No, objects Wachowski. And that’s all. The director says it and demonstrates it. The action is however omnipresent in this Resurrections – but savagely cut, jerky even saturated. The frustration becomes enjoyable. It is up to the spectator to fill in the gaps that she has left, invites Lana Wachowski; not to be the slave of bullet time , this famous special effects technique invented almost a quarter of a century ago for the Matrix of 1999. It is explicitly mentioned as a means rather than an end by this new chapter.
Means of what? Quite simply, of alienation. Here is one of the remarks of this blockbuster of which one can wonder how and especially why it was – cynically, undoubtedly – validated by Warner, itself quoted, by name, like agent of the evil. Not that the first three films are denied by this new opus – at least not as such – but their status as cult or action films, their commercial position, their passage in pop culture: all that, yes, is here watched by Lana Wachowski with a certain disgust that is more than understandable.
When all you have is love
A straightforward postulate, without forgiveness, which therefore makes it possible to repeat the feat of the year 1999: offer a film that puts everything back on track, and maybe more again. Because, where the first Matrix proposed an orgasmic transgression of reality, the raw 1999 is a purely nihilistic object. To believe in anything here is absurd. Besides having faith in love.
This is the other rereading offered by this somewhat hasty epic. Almost as if the director were apologizing: Matrix was never the story of an elected male and Christlike, as the three put them directly in scene. first films, but that of a couple.
This Matrix – there offers salvation through love, simple and pure, without even being mentioned the idea of procreation, too primitive in these places. Farewell religion, long live the man-woman and the woman-man.
A film that appeals to reason
Love, therefore, whatever its form. Love as the only reason . Against the Architects of another era who became Analysts.
But also against the room next door, full to the brim and screaming with prefabricated pleasure in front of the strong fan-service of the new Spider-Man concocted by Disney. Against, again, the Warner itself which, by bait of the big receipts, will hasten to scrutinize the number of entries of this Matrix of old wokist grumpies – probably shy, compared to the one in the next room.
Yes, Matrix Resurrections is a strange evidence, because ‘he appeals to reason. The last one we have left: love and nothing else, absolutely nothing else. This same absolute love that a certain Belgian singer prop dared as the last bulwark, “ to speak to the cannons”.
By Lana Wachowski
With Keanu Reeves, Carrie-Anne Moss, Yahya Abdul-Mateen II
Duration: 2 hours 28
Exit: 22 December 2021