Our society has deemed knowledge as one of the most powerful commodities. An obsessive nature is associated with unravelling the unknown, where individuals in positions of high authority exploit their seemingly unlimited resources in this pursuit. No-one can deny the importance of seeking out knowledge. It has allowed for the continual progression of civilization and cultivates a deeper understanding of the world around us. Yet, is there more to life than being the most knowledgeable entity? To what lengths are we willing to go to achieve such power?
In a world where memories can be uploaded and reprinted into newly created physical bodies, Bong Joon-ho masterfully builds upon Edward Ashton’s sci-fi novel Mickey7, battling with ethical and moral implications of the pursuit of knowledge in Mickey 17 (2025). After Mickey Barnes (Robert Pattinson) struggles with his life on Earth, he looks to the stars and applies for an undesirable role on an intergalactic colonisation expedition to the planet Niflheim as an “expendable.” As the name suggests, Mickey was put in precarious situations knowing that he would be reuploaded into a new body if he were to die.
Joon-ho attempts to expand upon the source material laid out by Ashton by deciding that seven iterations of Mickey was not enough, opting to add ten more. However, this deviation from the book did not make a substantial difference as the film seemed to gloss over each death. Fleshing this out deeper would have leaned into how nonchalantly his body is treated as dispensable, starkly juxtaposing our view of the finite nature of physical bodies.
Each Mickey is subjected to atrocities of deadly viruses, radiation poisoning, and toxic air quality, after which his memories are analyzed to develop vaccines for scientific purposes. This research was enforced to be carried out by caricature politician and expedition leader Kenneth Marshall (Mark Ruffalo). At the first introduction of Marshall, you cannot help but be amused by his blindingly obvious veneers and exaggerated promises, yet as the film goes on, its comedic value wears thin. He is obsessed with wanting to make history and being remembered at the expense of Mickey’s mortality.
The absurdity is only elevated when it is discovered that both Mickey 17 and Mickey 18 accidentally became “multiples.” This meant that two of, theoretically, the same person existed simultaneously. In practice, their interactions uncovered the differences in their rationale and emotional maturity with Mickey 17 being more unassertive compared to the reckless, boisterous 18. Pattinson effortlessly presents each Mickey as the antithesis of the other without losing the fact that they are meant to be identical characters. Here Joon-ho proposes the concept that the copying of memories cannot guarantee uniform replicas of an individual. This suggests that memories can be interpreted differently given the nature of emotions associated with them.
Despite each version of Mickey, security guard Nasha (Naomi Ackie) displays pure adoration for him throughout his time as an expendable. Ackie and Pattinson’s dynamic thrives off being grounded in a world that feels bleak at the hands of the radical authoritarians Kenneth and Ylfa (Toni Collette). From moments where Mickey affectionately fastens the buckles on her clothing to Nasha passionately protecting him from the criticism made by others, these mundane acts of love exhibit a beautiful authenticity. Their desire for one another seems to transcend all.
Love shows no bounds to the physical body as Mickey’s memories and body are repeatedly reconstructed using miscellaneous organic waste. This can be emblematic of the “Ship of Theseus” paradox – is Mickey the original Mickey after his components have been replaced? Nasha’s love still perseveres beyond that. Love can even go beyond personalities. A new Mickey brought different quirks but Nasha found comfort in knowing that the memories they shared remained. It is almost as if it is articulating an inverted scenario to Eternal Sunshine of a Spotless Mind (2004), where you can fall in love with the same personality you once did all over again without the memories of falling in love the first time around.
It is at these moments Bong Joon-ho strives as a filmmaker, showing these personal connections in the most outlandish situations. On the other hand, besides Mickey and Nasha’s development, he struggles to flesh out the overwhelming amount of minor characters beyond surface level, all of which have seemingly important roles to drive the narrative forward. The source material of the story is densely packed with each of these character arcs, which is perhaps why Joon-ho found it challenging to adapt into a screenplay.
On its own, knowledge can only take us so far. The universe is filled with a vast number of unknowns and there is more to life than dedicating yourself to unearthing them. Mickey 17 reminds us what it means to be human in a time where, more than ever, we see people in positions of influence blatantly ignoring emotion and compassion, opting for the pursuit of knowledge above all else.
Review Courtesy of Nandita Joshi
Feature Image Courtesy of Warner Bros. Pictures