Like Her before it, the film Ex Machina presents us with an artificial intelligence — in this case, embodied as a robot — that is compellingly human enough to cause an admittedly susceptible young man to fall for it, a scenario made plausible in no small degree by the wonderful acting of the gamine Alicia Vikander. But Ex Machina operates much more than Her within the moral universe of traditional stories of human-created monsters going back to Frankenstein: a creature that is assembled in splendid isolation by a socially withdrawn if not misanthropic creator is human enough to turn on its progenitor out of a desire to have just the kind of life that the creator has given up for the sake of his effort to bring forth this new kind of being. In the process of telling this old story, writer-director Alex Garland raises some thought-provoking questions; massive spoilers in what follows.
Geeky programmer Caleb (Domhnall Gleeson) finds that he has been brought to tech-wizard Nathan’s (a thuggish Oscar Isaac) vast, remote mountain estate, a combination bunker, laboratory and modernist pleasure-pad, in order to participate in a week-long, modified Turing Test of Nathan’s latest AI creation, Ava. The modification of the test is significant, Nathan tells Caleb after his first encounter with Ava; Caleb does not interact with her via an anonymizing terminal, but speaks directly with her, although she is separated from him by a glass wall. His first sight of her is in her most robotic instantiation, complete with see-through limbs.
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