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As he wanders the rainy forever-night of Los Angeles, thinking about his dead robot mom, he’s rendered embryonic next to the giant holographic women that pirouette and pout above him.

There are a wealth of female characters in and at least a couple are complex, dramatic creations. Joshi has some hot takes about the state of outdoor advertising that she’d share over a whiskey or two.) But Villeneuve’s film is ultimately obsessed with motherhood and the ability to reproduce over any other defining female trait, and feels less interested in questions of consciousness than in the pursuit of an elusive pseudo-religious special baby.

It was striking because of its graphic starkness, and its comparative lack of visual resemblance to anything in the original film; it was director Denis Villeneuve’s first shot across the bow to prove what this visually iconic universe might look like in his and Roger Deakins’s hands.

Later trailers revealed the giant women to be a running visual theme in the universe’s late Sin City, with eerie shots of dust-covered, gargantuan nudes frozen in submissive poses, as if the people behind the Korova Milk Bar had been given a substantial public art grant circa 2025. The neon-lit den of vice from Steven Spielberg’s critically divisive sci-fi fairy tale is a place where seemingly every desire can be satisfied; one can procure the services of a robot prostitute, or step into a booth where Robin Williams Googles stuff for you.

might not be outright misogynist, but it does have a rather transparent mommy complex, even if in the end K doesn’t actually want to crawl inside a giant lady.