SWAN SONG: A Melodrama Disguised as Science Fiction

Every once in a while, we get ambitious sci-fi that freely manipulates science. As we approach a future where water shortages aren’t yet a problem and we can change laundry settings with a blink, we begin to feel a slight sense of relief. However, when the world of tomorrow becomes merely a tool for creatively depicting reality, giving it the right colors and aesthetics, everything foreign becomes a mere shiny object, a purely visual attraction. And this doesn’t force us to deeply reflect on where our world is headed and why all visions of the future must be so fatalistic. One advocate of this approach seems to be Benjamin Cleary, the creator of “Swan Song”—an SF drama that could easily be tagged as a bonus episode of “Black Mirror“.

When Cameron finds out he’s terminally ill, he decides to undergo an experimental treatment. To do so, he goes to an elite, minimalist lab where the creator of the innovative program—played brilliantly by Glenn Close—meticulously prepares patients for a cell-cloning procedure. The result is the creation of a new, healthy Cameron, who is meant to replace the sick original. At this stage, the dialogue between the doctor and the patient is crucial, as the creators focus more on trying to build the credibility of the science behind cloning rather than delving into the philosophical or ethical dimensions of the endeavor. And as it turns out, this provides a perfect opportunity for Cameron to try to redefine himself, look deep into his soul, and ask uncomfortable questions. Ironically, however, the driving force in “Swan Song” isn’t playing God, but love. It’s the love of a husband for his wife, a father for his child—noble and rightful—but it gradually pushes the futuristic horizon into the background.

“Swan Song” is, in fact, one big sentimental journey. A journey that perhaps “Black Mirror” didn’t allow us to take in its time. Now we get its longest episode, wrapped in melancholic music and Apple gadgets, which apparently will soon dominate every corner of American homes. Visually refined, this continuation of the series hits very high acting registers. The line between playing on emotions and playing “with” emotions is very thin, after all. Unfortunately, the cast, who have the chance to shine, only do the former—they merely play on emotions. The main character is a graphic designer and creator, and his clone cannot afford even the slightest false note in his facial expressions. Sounds like material for a thriller? Perhaps, but the cloning itself in Cleary’s work remains a rough, melodramatic mechanism—interesting, but reminiscent of an attractive building facade that you’d love to enter, take a picture of, and send to your friends.

There are a few moments in “Swan Song” where the director tries to set small traps for us. These are minor things: patients learning that their diagnosis was given by the same oncologist, a dog sensing that something is wrong with its owner. But none of these baited traps lead to anything significant, even though they beg to be used to shake up the plot. Similarly, the film doesn’t offer any solid scientific foundation. How humanity reached this groundbreaking point in medical history is left to speculation by the director. The entire plot could be wrapped up in 30 minutes. The rest consists of flashbacks and a strained attempt to build dramatic tension.

What’s interesting in Benjamin Cleary’s film is the depiction of the future and Cameron himself. As a graphic designer, he seems fulfilled. Artificial intelligence hasn’t replaced humans. On the contrary, technological progress seems very subtle, which is satisfying. Finally, filmmakers’ view of the future seems realistic, and cars, in the span of a few decades, are still touching the ground. Mahershala Ali, in the lead role, is, above all, human. He has a loving family, a home, a job. Medicine allows him to continue this idyllic life, but only if he signs a pact for immortality—much like Faust signing with the devil. Cameron, however, doesn’t seem obsessed with perfection. His idea is love, and it’s in this realm that he tries to find a compromise with death.

On the other hand, technology here is a symbol of full control. Computers are operated by touch, and contact lenses are equipped with cameras. In the face of death and the inevitable, we feel even more strongly what we are losing and ask why humans are even needed when technology is taking over practically every aspect of life. Although we’ve grown accustomed to such a vision in many places, this film seems like a simplified version of it. For fans of “Black Mirror”, this production may feel like a “capsule” of the Apple aesthetic. Is it worth watching? Probably yes, even if “Swan Song” remains a rather uncomplicated melodrama that fails to meet expectations for a more complex narrative one might have hoped for.