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The scene is also interesting as it’s portrayed as a demonstration of Joi’s love for K. This scene is really unusual and impressive – all without ever showing the viewers any sex itself.

Not so much there as you think.”Īnother moment when we remember Joi’s limitations is during the scene when Joi invites a prostitute, Mariette, to have sex with K in her place.

K leaves Joi frozen in place in the rain, and we remember that even though she can now go wherever K takes her, thanks to the “Emanator” he bought her as a gift, she has no existence outside of K. The first time this happens is when her image freezes so that a message can be played, while she and K are moving as though kissing in the rain. This makes those moments of disconnect when Joi’s image falters and we’re reminded that she isn’t “real” all the more heartbreaking. Joi might be a product designed to placate the masses, but her relationship with K appears to be more than that. Their interactions are tender, down to the delicate way K moves to position his hands as if touching Joi’s skin. The relationship is all the more interesting for the fact that Joi isn’t simply a possession. And while this is likely be the fate of some incarnations of the Joi hologram, this isn’t what I see in the relationship between Joi and K. We think about creepy sex dolls, and women being objectified and commodified, sold in exchange for money, owned and used like any product. When we think about Joi as a product, manufactured by the Wallace Corporation and presumably sold to men and replicants for companionship, our minds probably jump to something pretty unpleasant. When Joi appears and it first becomes obvious that she isn’t a physical person but a hologram, we feel a pang of sympathy for K’s loneliness, but as the film progresses, we realise that maybe K doesn’t see it this way: to him, Joi is real. There’s a strange, haunting sadness to this scene, as gradually we realise something’s not quite right about his actions, nor the eerie, slightly artificial voice. He offers the voice a drink, pouring two, then drinking them both.

As he arrives in his apartment, we hear him calling out to someone – presumably his partner – and hear responses coming from the kitchen. We’re first introduced to Joi when K returns home from work. Because of this, he’s an outcast, labelled “Skinner” and “Skinjob” by his neighbours, and has no friends or companions, save for Joi. K (or to be precise KD9-3.7) is a new model of replicant, designed to obey, and employed to terminate fugitive “older models”. And most thought-provoking of all in Blade Runner 2049 was the relationship between the main character, K, and his holographic girlfriend, Joi, which totally captured my imagination and set my mind spinning with thoughts of what it means to be human. I was impressed by the soundtrack, the colour palettes and lighting, and the pacing of both films, and found the stories they told thought-provoking, smart and imaginative. Now I can say that I’ve finally seen both, and I loved them. Until last month, I had never seen the original Blade Runner film, let alone the recently released sequel. This might come as a surprise since I claim to be such a big nerd and sci-fi fan, but I’m generally pretty bad at keeping up-to-date with films.