REVIEW / REVIEW SERIES – The anthology “Love, Death + Robots” produced by David Fincher and Tim Miller returns for a new volume consisting of eight films. Like what made the charm of the company in the past, this extension is a success.
The brilliant anthology Love, Death + Robots continues to seduce
The first season of Love, Death + Robots had delighted genre cinema lovers with various short stories. This anthology aims to bring together talents from all over the world under one banner, to give viewers a thematic and visual melting pot. As long as you have a minimum of hooks with fantasy or science fiction cinema, there is bound to be something that you will find favor with in this series. Two years after its launch, a second volume has just landed on Netflix. Shorter (8 episodes versus 18), for the rest it is in line with what we have seen previously.
A jumble, we find robots, monsters, futuristic universes, bounty hunters, modified beings, immortals or even Santa Claus. We often have the opportunity to criticize anthologies for being inconsistent over time. Surprisingly, none of that in this second volume, where quality seems to take precedence over quantity. No false note is felt in the eight films. There are inevitably less consistent stories but they do not deserve, however, not to exist. Each has something to defend and does not do a task in the corpus.
Entertainment and complex themes
Love, Death + Robots juggles two approaches. One that gives immediate pleasure, with a desire to entertain with the help of an effective pitch. Then there is the other, the more interesting. The one who leaves a trace in you, thanks to the astonishing richness expressed in no time. The exercise of the short film is more complex than you might think. The limited time requires a requirement in the choice of plans, nothing should be too much. This is why we will always admire talents who manage to express a lot over a limited period of time. There are little gems in this volume that it would be a shame to miss.
As in the first, we juggle between artistic directions, each team wanting to assert its sensitivity through marked choices. Inevitably, some are eyeing photorealism. In this formal register, we are witnessing amazing things. In order of appearance, we find first Intervention group. It depicts a world where men have become immortal. Those who continue to have children are breaking the law. A policeman will question himself on the merits of his role. A short film as beautiful as it is strong that questions the beauty of life through the prism of the preciousness of a human’s young years.
The following film, Snow and the desert, follows an immortal hunted down by bounty hunters to harness his power. It’s violent while being very beautiful in its quieter moments. A work signed by the French studio Unit Image which is one of the huge success stories of this season. Then, if we had to keep only one, it would undoubtedly be The Drowned Giant. A chefartwork Americans from Blur Studio. The idea is simple: a giant is found stranded on a beach and becomes an attraction for the locals.
In about ten minutes, the film gives us a philosophical dizziness by questioning the complexity of the human condition. Magnificent ideas are linked and one miraculously takes affection for this motionless body, ravaged by the elements and men. Brilliant from start to finish! This piece, intelligently placed in the last place, completes the success of this second volume. As long as the quality remains as good, we are ready to sign so that Love, Death + Robots goes on for a long time.
Love, Death + Robots created by Tim Miller and David Fincher, season 2 available on Netflix from the May 14, 2021. Above the trailer. Find all our trailers here.