Perhaps it doesn’t need to be said – after all, the film is exceedingly well reviewed – but I want to start by saying it anyway: Blade Runner 2049 is a gorgeous piece of visual art. I wouldn’t go so far as to say that Roger Deakins has surpassed himself; his portfolio does include The Assassination of Jesse James by the Coward Robert Ford, after all. Nevertheless, there are few films this side of the turn of the century, or even this side of the original Blade Runner, that offer as coherent and as gorgeous a window into a world that is at once excitingly different and eerily familiar. And the praise isn’t just Deakins’: the artists that worked on all the individual puzzle pieces that make up the look of Blade Runner 2049 may just deserve most of the awards that exist and some that don’t. I don’t think the film will necessarily become as influential as the original Blade Runner, which pretty much defined what dystopian cityscapes of the near future look like, but aesthetically it manages the almost impossible, reconciling the iconic neo-noir with a more modern, almost anthropological sensitivity and creating something that both recalls the original and adds to it in startlingly original ways.
Just consider this: after the endless night of the original film, Blade Runner 2049 is largely set in daylight scenarios – and it pulls it off.