The Pod Generation – A Unique Indie Sci-Fi Satire

The sci-fi genre has often been turned to for commentary about today’s society and where they believed it to be going using themes and ideas that could seem out there but over time, subsequent films don’t feel as farfetched anymore as their content inches closer and closer to reality. Therefore, it becomes harder to find new directions to take them and surprise audiences and make them think about ideas they may not have thought of before. That being said, The Pod Generation is the latest entry into the subgenre. This clever indie sci-fi film is not necessarily groundbreaking in terms of what it has to say but the way it goes about it, while not everyone’s speed, is compelling to watch thank to the performances and chemistry of Emilia Clarke and Chiwetel Ejiofor. Though it could definitely go further with its macro commentary, focusing its story through the lens of Clarke and Ejiofor’s characters keeps it grounded and gives it direction instead of having audiences bogged down by its futuristic setting and all the bells and whistles that came with it. A unique premise for sure albeit also a ridiculous one, the predictability of the story does lessen it somewhat.

The Pod Generation follows Rachel (Clarke) and Alvy (Ejiofor), a 22nd century New York City couple who are ready to have a baby and start a family. Living in a world that has embraced technology across their everyday lives, depending on it for anything and everything, many believed that it has only made things more convenient but in doing so, those people were slowly losing more of their humanity and an awareness of the world around them. The disassociation of self because of technology is not that big of a reach though is made interesting through the lens of Rachel and Alvy’s evolving relationship. Rachel, a high-rising executive at a tech company is given the opportunity of a lifetime, a chance to raise a child in an artificial womb or pod where she would be spared from the challenges of a natural pregnancy. All of this was unbeknownst from Alvy, a botanist with an affinity for nature and who had reservations about the technology taking over everyone’s lives. As a result, he preferred they have a natural birth. However, because he loved Rachel, he was willing to take a chance and go on that journey with her.

While not technically pregnant themselves, Rachel and Alvy experienced a lot of the hurdles that came with pregnancy but just made more ridiculous because of their circumstances. Trying to integrate their pod baby into their lives and find that right balance proved to be a challenge but over time, they found themselves trading places ideologically. Looking for that mother-child connection, the artificiality of it all made that difficult as Rachel was bombarded with imagery of what a natural pregnancy through her dreams and everyday life which left her longing for what she was missing out on. In the end, pods were only possible for the rich which was commentary in and of itself as children were seen as more of a commodity and the process of motherhood was trivialized. Meanwhile, mostly a stay-at-home dad, the hesitant Alvy was developing a deeper connection with the baby as Rachel became more distracted. Looking for more time with their child, they were quickly caught up with the harsh reality of the commodification of the pod process and the increasingly dissociative nature of the grip technology has had on their world and had to make a tough decision about they and their futures. While not a surprising choice, it and what came after was still earned.

The production design and VFX, in spite of its indie budget, are impressive but it all could be overwhelming for some. Taking place in a distant future that may not seem that distant, the film repurposes the advancements of today in inventive ways. The ridiculous nature of the futuristic technology does get a little heavy-handed when it came to the low-hanging commentary that came with it but not letting itself be bogged down by it and focusing on Rachel and Alvy was the better choice. Clarke and Ejiofor as Rachel and Alvy absolutely carry the film with their chemistry and give some much needed humanity to a story that didn’t have any, though that was intentional. They stood out as an analog for audiences to guide them through the film’s ridiculous world in a fun way that could be too slow for some. Flawed characters who didn’t have all the answers and were trying to figure things out as they went along, this made them more relatable because ultimately, the film lives or dies on whether or not audiences can connect with Rachel and Alvy. Clarke and Ejiofor are easily the best part of The Pod Generation.

At the end of the day, The Pod Generation is a clever and well-written indie sci-fi romcom satire that may not bring anything new to the table but is nevertheless fun.

still courtesy of Roadside Attractions and Vertical Entertainment

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Keith Noakes

The EIC of the coincidentally-named keithlovesmovies.com. A Canadian who prefers to get out of the cold and into the warmth of a movie theatre.