The Politics of the Attractive: the Japanese Aesthetics of Aeon Flux
Yet, just when Aeon has the opportunity to kill Trevor Goodblood (Marton Csokas) as he practices a speech in the Forum, she finds she can’t quite do it because she recognizes him from some previous life. She gets captured. Strangely, he allows her to live, and pretty soon everyone from both the government and the Monican resistance are starting to question their oddly intimate relationship.
On one level, of course, one can see exactly why they shouldn’t die just yet—they are the two handsomest people in the film. Thus, while the fighting scenes are shot too close-up to really see what is going on much of the time, and as the plot gets muddied with shifting power-allegiances, the film floats and sinks purely on its visual style. You may groan at the dialogue, but some will enjoy Charlize Theron’s slinky minimalist pajamas or the way she whistles for a bunch of obedient metal balls to roll through the prison by themselves and explode to break her out of a cell block. Given the film’s sleek sheen, it is hard to care if most characters live or die, but one can always note the influences, such as the old film
What matters here is that Charlize Theron had to work out extensively with trainers to fit inside her latex jumpsuit. Her green eyes look quite striking with dyed black hair, and it is fun to see her look on with contempt at armies of government soldiers with machine guns who have the effrontery to try to kill her. She can always climb up inside a dirigible that resembles a gigantic jellyfish in the sky. She must fight, and hide, and look winsomely macho in “the name of the disappeared.” For some, that will be reason enough.