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In recent years, there has been a wave of thought-provoking films focusing on robotics and artificial intelligence.
Notable titles such as "Moon" (2009), "Her" (2013), "Ex Machina" (2014) and the latest addition, "The Creator" (2023), have captivated audiences.
Debut filmmaker Franklin Ritch's "Artificial Girl" aims to encapsulate the essence of these films, but with a minimalist approach and a significantly smaller budget.
A notable aspect of the film is the predominant use of a single location, which gives it a theatrical feel rather than relying heavily on visual elements.
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It can be seen as a dialogue-driven film, with the complexities of the script appealing more to computer experts and technology enthusiasts, but potentially less appealing to the average viewer.
However, by removing unnecessary technical language, the film effectively conveys its message to all audiences without requiring a deep understanding of technical jargon.
The characters remain constant throughout, but are presented in several moments, which is where the focus lies.
We witness their physical, moral and intellectual growth, observing how their behaviour changes and how they are influenced by a programme initially intended to identify paedophiles on the internet, but now used to give them the appearance of an innocent child.
The familiar "Frankenstein complex" of Asimov's robot stories resurfaces, although the film mainly delves into the development of the artificial girl in relation to her interactions with humans and her own self-awareness.
Franklin Ritch has written a debut work that introduces a new perspective, presenting a cohesive and introspective script.
This minimalist piece of science fiction deliberately avoids flashy visual effects that might divert the audience's attention from a story that demands their full participation.
The cast includes the "artificial girl", Tatum Matthews, and the always welcome Lance Henriksen, a welcome addition to the cast for those of us who are sci-fi diehards.