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Dis­cov­er the dark side of vir­tu­al real­i­ty is this mod­ern tech thriller

11 May 2020

Words by Anton Bitel

Close-up black and white image of a person's face with eyes closed, partially obscured by dark clothing or fabric.
Close-up black and white image of a person's face with eyes closed, partially obscured by dark clothing or fabric.
Yedidya Gorsetman’s 2018 film Empa­thy, Inc explores themes of iden­ti­ty, alter­i­ty and technophobia.

To thine own self be true.” These are the words that open Empa­thy, Inc. But the speak­er on stage is not Polo­nius from Shakespeare’s Ham­let address­ing these lines to his son Laertes, but rather a man direct­ly address­ing an audi­ence. At least that’s what I used to think,” Joel East­man-Green (Zack Robidas) con­tin­ues, Of all the dif­fer­ent peo­ple we are inside, who are we to be true to?”

In this way, from the very begin­ning, direc­tor Yedidya Gorsetman’s sec­ond col­lab­o­ra­tion with writer Mark Lei­d­ner (fol­low­ing their 2014 fea­ture debut, Jammed) clear­ly sets outs its the­mat­ic stall, while mys­ti­fy­ing its own con­text. Empa­thy, Inc is con­cerned with per­son­al iden­ti­ty, alter­i­ty and the var­ied roles that we embody in our dai­ly lives – although at first, as it flash­es back to Joel with his wife Jes­si­ca (Kathy Sear­le) at a low point in their lives, it is unclear how this theme is going to play out.

Sure, Jes­si­ca is a stage actor, well used to walk­ing around in oth­ers’ shoes – but main char­ac­ter, Joel, is a Sil­i­con Val­ley fund man­ag­er, rais­ing cap­i­tal invest­ments for a mir­a­cle start-up, and despite know­ing his way around a salesman’s pitch, is hard­ly at home in the world of impersonation.

After Joel’s lat­est project has revealed itself to be noth­ing more than smoke and mir­rors (with Joel fooled as much as every­one else), he los­es every­thing – his job, his home, his pro­fes­sion­al rep­u­ta­tion – and so he and Jes­si­ca have lit­tle choice but to leave the West Coast and move in with Jessica’s retired par­ents Ward (Fen­ton Law­less) and Vicky (Char­maine Reedy).

Joel runs into old school­friend Nico­laus (Eric Berry­man) who is, with engi­neer Lester (Jay Klaitz), seek­ing back­ers for the next big thing’ – their new tech called XVR (‘Extreme Vir­tu­al Real­i­ty’), real­er than any­thing that anyone’s ever seen,” which allows high-end clien­tèle to feel what it’s like to be under­priv­i­leged.” Nico­laus explains, Peo­ple are mis­er­able because they for­get what they have. Me and Lester help them remember.”

Once Joel has tried on the elab­o­rate head­set, and wok­en up tem­porar­i­ly in the body of some­one else, he is hooked. I feel more like myself than I have in a real­ly long time,” he explains to Nico­laus. Yet after per­suad­ing Hank and his friends to sink their life sav­ings into Nico­laus’ com­pa­ny Empa­thy Inc, Joel starts ques­tion­ing the motives of his new busi­ness part­ners, and won­der­ing if the vic­ar­i­ous expe­ri­ences on offer might in fact be some­thing rather dif­fer­ent from – if no less extra­or­di­nary than – vir­tu­al reality.

Like the start-up com­pa­ny from which it takes its name, Empa­thy, Inc may be a mod­est, low-bud­get oper­a­tion, but it nonethe­less accom­mo­dates some very big ideas: on the one hand, para­dox­es of self and oth­er­ness, the Carte­sian split between mind and body, and the ethics of per­son­al respon­si­bil­i­ty; on the oth­er, con­sumerism, exploita­tion and the vic­ar­i­ous nature of entertainment.

Much as the pro­tag­o­nist comes with a dou­ble-bar­relled sur­name, the iden­ti­ty of the film itself is also dou­ble, divid­ed between sci­ence fic­tion and film noir (the lat­ter marked by Darin Quan’s crisp mono­chrome cin­e­matog­ra­phy and by a pre­oc­cu­pa­tion with the sleazier, more shad­owy side of human nature), even as Gorset­man works through con­cepts that are all at once philo­soph­i­cal, psy­cho­log­i­cal and even social.

While the impli­ca­tions of Lester’s tech­nol­o­gy are mind-bog­gling, his low, appet­i­tive imag­i­na­tion lim­its his discovery’s appli­ca­tion to a sys­tem of abu­sive role- (and power-)play at the expense of the impov­er­ished and the mar­gin­alised. This makes for an uncom­fort­able alle­go­ry of our own eco­nom­ic real­i­ty, where for their own per­verse grat­i­fi­ca­tion, the haves all too read­i­ly make pup­pets and play­things of the have-nots.

Even more con­fronting­ly, Lester’s tech, in which a seat­ed cus­tomer is briefly trans­port­ed to anoth­er life, is also of course a reflex for cin­e­ma itself – that trans­for­ma­tive medi­um of seduc­tive illu­sions where we sit and enter oth­er worlds and oth­er minds, with or with­out our empa­thy incor­po­rat­ed. Gorset­man has craft­ed a smart spec­u­la­tive thriller that cap­tures our most unpleas­ant impuls­es, freed from direct con­se­quence through the fil­ter of make believe and play act­ing. Where we go with this expe­ri­ence is a ques­tion of char­ac­ter – because none of us can real­ly help but to our own self be true.

Empa­thy, Inc is avail­able on High Def­i­n­i­tion Blu-ray from Arrow Video on 11 May.

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