Saw with LD on Christmas Eve. I thought it was well-done millennial nostalgia porn. Nothing wrong with that. I loved the humor and digs at techbro culture and co-option of “red-pill” by the far-right (which led to my favorite set of Tweets.) Thought it could be a deconstruction of the original Matrix (for what isn’t these days?) and was very swayed by this lovely analysis by /u/Dangerous_Budget8897.
Breaking free from the Matrix is about breaking free from preconceptions. This is emphasised by the fate of the real Morpheus, who was so convinced by the mythology of the One that he couldn’t accept the new peace could be undone. I think Lana regards certain fans of the original film in the same way, with their steadfast commitment to the original film’s aesthetics. This revival executes the highly-anticipated action scenes with total indifference, all while cheerfully embracing goofy comedy along with the defiantly uncool visual palette continued from the final shot of Revolutions.
Is this a middle finger to the audience? To some extent, but I think Lana would argue that they need their expectations recalibrated. For her, the Matrix is about love. She is aware that, as the analyst says, “people will find it sentimental”, but the positioning of sentimentality in favour of macho posturing is one of the film’s core tenets. Co-writer David Mitchell has said that Neo never shooting a gun was a purposeful choice, and it makes sense in light of the trilogy’s sacrificial ending. Neo is no longer the One, flying off alone at the end of the film, but someone who is incomplete without Trinity. Smith is once again used as an individualist counterpoint to the protagonist, but is here rendered almost irrelevant. Freedom is impossible or meaningless without connections between people, and an act of faith (in this case jumping off a building) can be more about trusting in other people than yourself.
There is also the element of further rejecting binaries. Another aspect of the Trinity arc is to do with accepting or integrating other aspects of yourself, in a way which perhaps reflects Lana’s transition. The female led cover of Wake Up1 can be seen as a kind of corrective to the aforementioned macho elements, and the conservative adoption of the term “red pill”. People in this story are kept in place by ‘Fear and Desire”, the sense that possibilities are just out of reach, and the film proposes that the only way to set them free is by example, to “paint the sky with rainbows”.