This mission is assassination: Aeon is a killer for the underground. She finds her contact, they kiss with tongue, and she’s slipped a pill that grants her access to her handler (Frances McDormand). Aeon appears in stepping neatly in heeled boots and a thigh-slit black dress, her “futuristic” head gear providing stylish context for the means to her mission. The film begins as if it will be more wondrously strange than it ends up. While Theron appeared on multiple talk shows and making-of sequences on MTV (showing off the stunts and the green screen work, not to mention some odd wardrobe choices), the charismatic director, Karyn Kusama (who made Girlfight with Michelle Rodriguez), was nowhere to be seen or heard. However this decision evolved, its sad effects are visible not only on screen but also MTV’s awkward promotional business. But it’s also a function of what seems a completely contrary imperative to get the film rated PG-13. In part, this is a function of physical limits: no way could the live action Aeon (Charlize Theron) manage the hairstyle of the animated Aeon, much less the scary wasp waist and freaky-deaky sexual exploits. Why translate the animation to fleshly form if you’re going to reject and undo what made it so compelling to begin with, namely, its gorgeous perversity and unsettling provocation?
Aeon flux anime feet series#
Here’s a puzzler: Aeon Flux, MTV’s intriguingly out-there, aggressively abstract cartoon series from the mid-’90s has been reimagined for the movies as a conservative tract promoting family “values” and heterosexual romance.
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