Written and directed by Sophie Barthes, in a not-so-distant future, tech giant Pegazus offers couples the opportunity to share their pregnancies via detachable artificial wombs or pods. And so, begins Rachel and Alvy’s wild ride to parenthood in this brave new world. Starring: Emilia Clarke, Chiwetel Ejiofor, Vinette Robinson and Rosalie Craig.
It’s fantastic in recent years how the exploration of motherhood has expanded exponentially in cinema, with a lot of inventive, unusual and creative avenues to dive into the nuance and complexity. The Pod Generation is a good addition to that breed of film, bringing the idea of how to balance a career and children. It brings a similar tone to the table as films exploring AI, trying to weigh the balances and risks of such advanced technology.
Firstly, establishing that futuristic world, which is very different yet not too far removed is done extremely well. The choices in costumes to show the formal, uniform nature of professionals like Rachel (Emilia Clarke) versus the casual, comfortable style of those trying to hold onto the past like Alvy (Chiwetel Ejiofor). The use of visual effects is minimal but makes a great impression to give that extra touch of coldness and separation from today’s world. Sophie Barthes’ directorial style as a whole does a wonderful job of building a futuristic atmosphere, with a huge amount of control and walking that line between helpful AI and invasion of privacy.
Initially, the story builds well, there’s a perfect edge of awkwardness to it which adds a growing anxiety, feeding the slightly tense atmosphere. There’s a touch of comedy, although it’s a shame it didn’t take a bigger role as it helps to make the story more relatable. For the most part it focuses on the central conflict of whether they’re making the right decision and how to connect with their baby while it develops within the pod. It’s solid but the pacing and progression can make it feel forced. It struggles to maintain its energy and comes across rushed in its finale or that it’s wrapping things up too easily, creating an unsatisfying or underwhelming feel.
However, the one element of the progression which works really well is the evolution of the characters. The way that Emilia Clarke and Chiwetel Ejiofor create these almost 180-degree journeys for Rachel and Alvy is captivating to watch. They make a wonderful couple, they’re very natural together even though there’s a constant conflict running throughout. The two are also just organically charming actors, they’re never not a joy to watch. Ejiofor in the later moments when his character enters an extremely sentimental stage is especially fun to watch, it’s such a sweet transformation to Alvy.
The Pod Generation does a wonderful job of creating a futuristic but not too far-removed world to explore motherhood for working women and how fathers connect with the baby during pregnancy. It’s an interesting idea to delve into nature versus artificial, as well as bonding with your child in the earliest of stages. There are a few nice moments which feel particularly reflective of today with how mothers are treated in the workplace. Emilia Clarke and Chiwetel Ejiofor are unsurprisingly a pleasure to watch and bring a lot of personality to the table.
However, the story just ultimately doesn’t feel satisfying, it’s a balancing act between comedy, romance, drama and sci-fi which it doesn’t always manage to keep afloat. Although for any fans of the actors, it’s definitely worth watching and special mention has to go to Anne-Marie Agbodji who brings such a joyful presence even in her brief appearance.
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