Is it all transgressive or radical anymore to point out that Kristen Stewart is a divinely talented actor? Have her Twilight days been sufficiently been wiped out by the ever-expanding wealth of killer onscreen work she’s put in outside that franchise? I hope so, because it’s becoming tiresome starting reviews like this (my third defensive preamble for her talents after American Ultra & The Clouds of Sils Maria). Kristen Stewart’s main problem, if she has one at all, is that the film industry often seems confused about exactly how to utilize her detached onscreen cool, a visible lack of urgency that lands her presence somewhere between James Dean & Lauren Bacall in its smooth, smoky, effortless charm. Although it nearly approaches the YA romance territory that has threatened to pigeonhole her career, the dystopian sci-fi drama Equals does know what to do with Stewart’s detached cool. Besides indulging in an always-welcome, heartachingly sincere story of sci-fi romance, Equals presents a future where emotion has been outlawed, a perfect platform for Stewart’s own emotive talents, which are typically communicated through subtle body language & small shifts in tone. It’s not my favorite Stewart performance by any stretch, but it might serve as a convincing argument on her behalf for those still on the fence in regards to her immense, underappreciated talent.
As much as I’m rambling on about the many merits of Kristen Stewart here, the true protagonist of Equals is a man named Silas, played by Nicholas Hoult. Silas navigates a cold, clinical world in which war has been eradicated by outlawing human emotion. As a member of the emotionless Collective, Silas lives & works in a society of Spocks. Everything is bland, uniform, and designed for logical, streamlined function, the entire world an Apple Store. Silas’s peaceful life as an illustrator of “speculative non-ficiton” is threatened when an outbreak of the disease S.O.S. (or “switched on syndrome”) starts to trigger “behavioral defects” (emotions) in members of The Collective, including our protagonist. Silas dutifully takes his prescribed pills, but continues to feel anyway (likely a comment on the effectiveness of anti-depressants), and eventually finds himself dangerously infatuated with a coworker, played by Stewart. His love interest is dealing with her own rapidly-progressing S.O.S., however undiagnosed & unmedicated, and initially treats his advances like the unwanted attentions of any other workplace creep. Their attraction is inevitable, though, and sets up an achingly sincere, doomed-to-fail romance full of secretive, tender sexual encounters that put both Hoult’s & Stewart’s characters at risk for correctional “defective emotional therapy” at the hands of The Collective’s governing elite, a “treatment” that often ends in encouraged suicide.
Equals is mostly a slow, sensual drift through a cold, calculated future defined by its clean lines & blue lighting. Its romanceless dystopia most closely resembles the surrealist fantasy of this year’s The Lobster, but it approaches the subject from a more sincere, open-hearted place that recalls the sci-fi romance of titles like Her & Upside Down. There’s a metaphor to be found in the way this future society values “productive” lives over genuine mental health, but its true bread & butter is in the nervous, trembling touches Hoult & Stewart share as two young lovers unaccustomed to intimate human contact. The film finds its own visual language in the way it zooms in on actors’ bodies & faces in search of the tiniest of emotive responses, shrinking even the subtle bodily flirtation of Carol to a more microscopic stature (until, you know, it becomes full-on boning). There’s a little dose of subtle comic relief mixed in with this chest-heaving sensuality in the emotionless delivery of lines like, “You’re going to live, pal,” and [upon witnessing a coworker’s suicide] “That’s unfortunate,” but the film works best for those easily won over by sincere romance juxtaposed with a clinical sci-fi setting, an aesthetic I’ll admit I’m a huge sucker for.
Nicholas Hoult does a great job of selling the heartbreaking sincerity of this futuristic love connection (and, speaking of underappreciated actors, The Diary of a Teenage Girl‘s Bel Powley shows up to support the main cast), but Equals is Stewart’s show, not only because it fits the detached cool of her already established persona so well. As much as I appreciate the cold, clinical future presented here, it mostly makes me wish for a not-too-distant future where Stewart’s recognized for the full scope of her talent, not for being the girl from Twilight. Equals is a welcome step in that direction as well as a great, self-contained love story heightened by an oppressive air of emotional restraint.