By 2049, the world has changed for the worse. Los Angeles police maintain a special “blade runner” team to hunt and neutralize clandestine replicants still at large, despite the fact that Rutger Hauer’s mutiny band has been extinct for a long time. During an investigation, Agent K (Ryan Gosling) is on the trail of a retired colleague. Rick Deckard, the Marlowian detective played by Harrison Ford, will eventually be found, a rusty hermit living in the post-apocalyptic and radioactive desert. But perhaps he is better aged than the moral allegory about the replicants that in a post-Her and post-District 9 world, has a 1990s retro flavor.
Denis Villeneuve is managing the commands of the sequel to the cult classic. He achieved international success with Sicario and Arrival. Now he’s responding to the question everyone is asking: How does he feel about putting his hands on a movie of mythic proportions? He hides behind a joke to answer it: “I didn’t want someone else to ruin it. I love the movie too much.”
In 1982, the first Blade Runner had tangibly and sensuously visualized a Los Angeles projected in the future as a dystonic crucible, drenched with monsoons and, at the same time, immersed in the idyllic noir unmistakably linked to the history of the city and its cinema. A revolution in futuristic and urban imagination that 35 years later, the Québécois director has been able to continue in a highly “atmospheric” film in which, as Villeneuve himself says, “the story takes place not only in Los Angeles but also in some neighboring locations, so there is the possibility of expanding the visual language created by Ridley.”