Code 46

The production design is arguably the best thing about Michael Winterbottom’s sci-fi film as a disparate assortment of real-life settings, interior and exterior, are used to create a dystopian vision of life in the not-so-distant future.

As is the want of such fare (think THX-1138,1971, or Solaris, 2002) in this genetically-engineered world all aspects of life are closely controlled none more so that its occupants’ libidos. The title of the film refers to regulations restricting procreation but seemingly all behaviour is dependent on permits known as papelles which insurance policy-like decide what one is “covered” to do.

Tim Robbins plays William Geld who is investigating a security breach in a company in Shanghai that provides these papelles. He identifies the perp, one Maria Gonzalez (Samantha Morton), but he falls in love with her.

Winterbottom is a resourceful indie film-maker and what he and production designer Mark Tildesley and cinematographers Alwin Kuchler ad Marcel Zyskin,  aided by an effective score by David Holmes and Chris Martin, have achieved in creating a dystopian vision on a relatively small budget is impressive.

Unfortunately the same can’t be said of the romance infusing it.  Whilst William and Maria are typical sci-fi star-crossed lovers the real problem is that dramatically  there is no catalyst to their affair, nothing sustaining it and its outcome less than moving. The characters are, in other words, mere cyphers.  Given this, Robbins and Morton have not much to work with and “not much” is, despite the many skills evident, is about all you are likely to get out of this disappointing  film.

 

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