Recall | Blade Runner 2049 ending scene. Deckard meets his daughter for the first time @recall3550 | Uploaded July 2020 | Updated October 2024, 6 hours ago.
Blade Runner 2049' is the Best Cyberpunk Film Since: K stages Deckard's death to protect him from Wallace and the replicant freedom movement before taking Deckard to Stelline's office and handing him her toy horse. As K lies motionless on the steps, looking up at the snowing sky, Deckard enters the building and meets his daughter for the first time.
The ending also provides a powerful resolution to Deckard’s story. We learn that a hunter (Deckard) had become the hunted (the movie keeps it ambiguous as to whether or not he’s a replicant, but either way, his daughter is a “miracle”) and that he had gone into exile in order to keep Ana (daughter) safe. Although he had to fake his death to meet his daughter, this meeting at least provides Deckard with some solace and hope, two things he had pretty much given up on.
It’s a bittersweet ending, but it comes to a definitive conclusion about its characters. K’s Pinocchio-like journey from replicant to human is defined by his actions, slowly moving away from being a trained killer to hunt down his own kind and instead discovering that there’s something out there worth fighting for. What’s more, the movie provides a worthwhile twist by leading you to believe that K might be Deckard’s son but then having K learn that it was a daughter who was hidden away. This changes the complexion of his story from one of destiny to one where he must actively choose to do the right thing and help Deckard even if it means dying. This also intertwines quite nicely with K’s love story where everything is rooted in sacrifice. K’s love for Joi (Ana de Armas) can’t be fully reconciled until it reaches a point where might actually lose her.
Some people will look at the ending (final) and see it as a cliffhanger—where do Deckard and Ana (daughter) go from here? Will the replicant uprising begin? How will the Wallace corporation react? But those kinds of questions feel largely beside the point. The finer details of how the world of Blade Runner 2049 operates tend to be left by the wayside (how does a replicant kill a police lieutenant in her own office, and no one does an investigation?) in favor of themes and tone, and it largely pulls it off. I don’t know where the story goes from here, and to be honest, I’m not sure if I’d want a sequel. 2049 feels like such a delicate balancing act in terms of picking up the story from a beloved movie and carrying it forward that another sequel might feel like tempting fate.
Then again, as K’s story shows, fate dictates nothing. The power to choose is the most human thing of all. 2049 ending.
The highly anticipated Blade Runner 2049 has arrived. As the sequel to one of the most well-regarded science fiction movies of all time, and arguably one of the best movies period, I set my expectations high, to say the least. Blade Runner 2049 came in the wake of the live-action adaptation of Ghost in the Shell, another of the must-see cyberpunk canon, but unlike the abomination that was Rupert Sanders’ treatment of a cyberpunk classic, Denis Villeneuve actually met those expectations.
If you can’t tell from the trailers, Blade Runner 2049 is visually stunning. It has a cyberpunk visual style more inspired by the modern era than by the 80s look of Ridley Scott’s vision. Perfect extension of ideas presented in Blade Runner and in cyberpunk media as a whole.
An important metric, as a self-proclaimed cyberpunk, is that the film would be true to the essence of thegenre cyberpunk. Blade Runner 2049 more than simply displaying the trappings of cyberpunk aesthetics, is cyberpunk on the nose, but more than that, it is a matured and an evolved form of the genre cyberpunk. Visually, the movie is brought up to date, but not at the expense of narrative. The visuals are true to modern cyberpunk visual style, but also hold meaning within the story itself.
The makers of Blade Runner 2049 tricked a clutch of production companies into giving them nearly $200 million to make a languidly paced, ponderous, deliberately action-reticent blockbuster. That on its own would be impressive, but all the better, the result is the best cyberpunk film since the original Matrix, and the best big-budget American science fiction film in years. In this sci fi movie the story opens in 2049, thirty years after the events of the first film.
Director: Denis Villeneuve
Writers: Hampton Fancher (screenplay by), Michael Green (screenplay by)
Cast: Ryan Gosling, Dave Bautista, Robin Wright, Mark Arnold, Vilma Szécsi, Ana de Armas, Wood Harris, David Dastmalchian, Harrison Ford,
#bladerunner #cyberpunk #bladerunner2049 #2049 #bladerunner2049endin #sceneending #ryangosling #sylviahoeks #anadearmas #harrisonford #denisvilleneuve #hamptonfancher #fi #fimovie #movie #replicant #wallacecompany #michaelgreen #davebautista #sciencefiction #scifi #cyberpunk #2049sylviahoeks #cyberpunkscene #bladerunner2049 #2049scene #cyberpunkmoviescene #cyberpunkvisualstyle
Twitter: @Recall37066525
Blade Runner 2049' is the Best Cyberpunk Film Since: K stages Deckard's death to protect him from Wallace and the replicant freedom movement before taking Deckard to Stelline's office and handing him her toy horse. As K lies motionless on the steps, looking up at the snowing sky, Deckard enters the building and meets his daughter for the first time.
The ending also provides a powerful resolution to Deckard’s story. We learn that a hunter (Deckard) had become the hunted (the movie keeps it ambiguous as to whether or not he’s a replicant, but either way, his daughter is a “miracle”) and that he had gone into exile in order to keep Ana (daughter) safe. Although he had to fake his death to meet his daughter, this meeting at least provides Deckard with some solace and hope, two things he had pretty much given up on.
It’s a bittersweet ending, but it comes to a definitive conclusion about its characters. K’s Pinocchio-like journey from replicant to human is defined by his actions, slowly moving away from being a trained killer to hunt down his own kind and instead discovering that there’s something out there worth fighting for. What’s more, the movie provides a worthwhile twist by leading you to believe that K might be Deckard’s son but then having K learn that it was a daughter who was hidden away. This changes the complexion of his story from one of destiny to one where he must actively choose to do the right thing and help Deckard even if it means dying. This also intertwines quite nicely with K’s love story where everything is rooted in sacrifice. K’s love for Joi (Ana de Armas) can’t be fully reconciled until it reaches a point where might actually lose her.
Some people will look at the ending (final) and see it as a cliffhanger—where do Deckard and Ana (daughter) go from here? Will the replicant uprising begin? How will the Wallace corporation react? But those kinds of questions feel largely beside the point. The finer details of how the world of Blade Runner 2049 operates tend to be left by the wayside (how does a replicant kill a police lieutenant in her own office, and no one does an investigation?) in favor of themes and tone, and it largely pulls it off. I don’t know where the story goes from here, and to be honest, I’m not sure if I’d want a sequel. 2049 feels like such a delicate balancing act in terms of picking up the story from a beloved movie and carrying it forward that another sequel might feel like tempting fate.
Then again, as K’s story shows, fate dictates nothing. The power to choose is the most human thing of all. 2049 ending.
The highly anticipated Blade Runner 2049 has arrived. As the sequel to one of the most well-regarded science fiction movies of all time, and arguably one of the best movies period, I set my expectations high, to say the least. Blade Runner 2049 came in the wake of the live-action adaptation of Ghost in the Shell, another of the must-see cyberpunk canon, but unlike the abomination that was Rupert Sanders’ treatment of a cyberpunk classic, Denis Villeneuve actually met those expectations.
If you can’t tell from the trailers, Blade Runner 2049 is visually stunning. It has a cyberpunk visual style more inspired by the modern era than by the 80s look of Ridley Scott’s vision. Perfect extension of ideas presented in Blade Runner and in cyberpunk media as a whole.
An important metric, as a self-proclaimed cyberpunk, is that the film would be true to the essence of thegenre cyberpunk. Blade Runner 2049 more than simply displaying the trappings of cyberpunk aesthetics, is cyberpunk on the nose, but more than that, it is a matured and an evolved form of the genre cyberpunk. Visually, the movie is brought up to date, but not at the expense of narrative. The visuals are true to modern cyberpunk visual style, but also hold meaning within the story itself.
The makers of Blade Runner 2049 tricked a clutch of production companies into giving them nearly $200 million to make a languidly paced, ponderous, deliberately action-reticent blockbuster. That on its own would be impressive, but all the better, the result is the best cyberpunk film since the original Matrix, and the best big-budget American science fiction film in years. In this sci fi movie the story opens in 2049, thirty years after the events of the first film.
Director: Denis Villeneuve
Writers: Hampton Fancher (screenplay by), Michael Green (screenplay by)
Cast: Ryan Gosling, Dave Bautista, Robin Wright, Mark Arnold, Vilma Szécsi, Ana de Armas, Wood Harris, David Dastmalchian, Harrison Ford,
#bladerunner #cyberpunk #bladerunner2049 #2049 #bladerunner2049endin #sceneending #ryangosling #sylviahoeks #anadearmas #harrisonford #denisvilleneuve #hamptonfancher #fi #fimovie #movie #replicant #wallacecompany #michaelgreen #davebautista #sciencefiction #scifi #cyberpunk #2049sylviahoeks #cyberpunkscene #bladerunner2049 #2049scene #cyberpunkmoviescene #cyberpunkvisualstyle
Twitter: @Recall37066525
