‘2073’ – Asif Kapadia’s latest film looks into the future:  “This is a warning”

This film had its world premiere in Venice and acv talked to him at a small roundtable there, and chronicles its passage on the Lido. The film is also set to come to London Film Festival (October 9-20) in the Debate strand…see listings at the end… Catch it while you can…

By Tatiana Rosenstein

ASIF KAPADIA’S latest documentary, ‘2073’, is a dark, futuristic fantasy inspired by Chris Marker’s, ‘La Jetée’.  

In 2073, Samantha Morton portrays a survivor in a dystopian wasteland who, living in destitution, intermittently uses a mechanical flashlight to ponder the state of the world.  

This 85-minute documentary tackles pressing issues such as climate change, corporate fascism, and the erosion of democracy, all the while piecing together genuine footage that sketches a stark picture of our potential future. 

Kapadia shares his motivation for making the film: “I wanted to do it now because I wanted to say something, even if it turns out to be my last film. 
 
“Maybe we only have 50 years to sort things out. The way I make my films isn’t about my opinion; we find footage of what people have said and show it. It just so happens that the worst scenes are real. When you compile all of this together, it feels dystopian.”  

The theme of losing personal freedom and individuality resonates throughout this year’s Venice Film Festival.  

For instance, the film ‘Quiet Life’ by Greek filmmaker Alexandros Avranas tells the story of a Russian family subjected to political repression in their homeland. Yet, the loss of familial bonds and, especially, individuality threatens them even in seemingly democratic Sweden, where excessive political correctness can strip away humanity.  

This theme was explored not only in politically charged indie films but also in more mainstream and entertaining fare.  

In the psychological-erotic thriller, ‘Babygirl’, starring Nicole Kidman, the nature of political correctness and its effect on human behaviour is questioned.  

Similarly, in the sequel to ‘Joker’, Joaquin Phoenix’s character, Arthur Fleck, is reduced to a mere tool for others’ agendas but once he stops playing the Joker, he becomes disposable and can be eliminated.  

Kapadia’s film, crafted on a documentary budget, contrasts with traditional feature-length production.  

He emphasizes: “I didn’t want to make a feature because people might dismiss it as just a story and not confront the reality it presents.  

“I wanted it to be short and impactful – to punch you in the stomach, throw you into the daylight, and to make you think.” 

The director discussed the origin of his idea: “This film began with Brexit.  

“I was watching it unfold in my country and wondered why anyone would vote to make their lives worse, to make themselves poorer, to cut themselves off from Europe. Underneath it all was racism.” 

When asked about potential repercussions for presenting such critical content, Kapadia expressed concerns about possible blacklisting and travel restrictions.  

He said: “I probably won’t be allowed to travel anywhere or use my phone and the internet. What’s that thing called when you’re afraid to say what’s happening? When you’re worried because you might lose your job and they restrict what you think?  

“Because of the nature of my work, I’ve travelled all over the world. I saw what was happening in India, and it’s difficult for Muslims there because Modi has been in power for a long time. I spoke to one of my friends from India, and he was too scared to talk to me on Zoom. He thought someone might be listening. He even told me he couldn’t continue our friendship if I made a critical film”.   

On the topic of censorship, Kapadia noted: “It’s much worse than that. The fear of speaking out, the restrictions on thought and expression – this is what’s really concerning”.  

The film juxtaposes contemporary news footage with images of global leaders and their suppression of dissent, highlighting a grim array of men who wield power currently – Modi, Xi, Trump, Putin, and Orbán.  

What’s new here is the suggestion that all of this is orchestrated from Silicon Valley.  

Kapadia’s vision of the future includes a utopian city called New San Francisco.  

Perhaps for the first time, worshipped tech billionaires like Jeff Bezos, Mark Zuckerberg, Elon Musk, and Peter Thiel are depicted not as role models idolised by modern youth, but individuals whose fortunes were built on collecting and profiting from our personal data.  

This represents a military-industrial complex of power, where billionaires align with ruthless nationalist leaders, pushing their agendas while the Earth faces severe social and climate crises.  

Kapadia also underscores how these wealthy figures are preparing for potential disasters, such as nuclear war, by purchasing land in New Zealand and Alaska to build bunkers.  

“When I started this project, not many people viewed Elon Musk negatively.  

“But now, he seems like a narcissistic psychopath obsessed with power. It’s becoming more explicit, especially after he bought Twitter (now renamed X). It’s a big political game. Something isn’t right when the world is run by people with zero empathy and no humanity,” the director argued.   

Kapadia critiques the normalisation of surveillance and data collection.  

He questioned the need for personal information in mundane contexts, recalling a time he was asked to provide the names of his children for discounted museum tickets.  When he refused, they were denied entry. He also finds the acceptance of fingerprinting for school meals in the UK troubling. “When did this become normal?” he asked. “Children giving away their fingerprints – who wants that?” 

Kapadia quotes political commentators such as George Monbiot and Anne Applebaum in a voice-over format, and while the film might have benefited from allowing them to develop their distinctive critiques in more detail, their presence is certainly felt.  

The filmmaker also wisely avoids the common tendency to provide a “hopeful ending”, even in the bleakest portrayals of societal dysfunction.  

Had he attached a neat conclusion it would have deflated the film’s impact and absolved viewers from grappling with his thesis. As filmmaker states, “This is not fiction. This is not documentary. This is a warning”.  
 

Listings

London Film Festival October 9-20

‘2073’ at London Film Festival, Wednesday October 16, 9pm, Curzon Mayfair. 
Friday, October 18 3.45pm, BFI Southbank NFT1. 

Ticket availability link