God(dess) in the Machine: Sexuality as Manipulation in Ex Machina

Written by Cailin Ball

For a film helmed by a mostly male crew, it is surprising that Alex Garland’s 2014 film Ex Machina deals with gender and sexuality in such a nuanced way. Garland, through his carefully developed plot and relationships between characters, explores Ava’s strange role, not a true human woman, but subjected to the societal constraints of one nonetheless. However, she experiences these constraints in a unique way. In such a technologically advanced world, and as a technologically advanced being, Ava experiences gender, intelligence, and sexuality in a different way than a human does. This difference lies in her programming – specifically, the influence the internet has had on her. By collecting information and learning about human life and behaviour, Ava has determined how best to use these human traits against those who oppress her, and manipulates them to their very demise.

Ava: Session 1

Even in Ava’s very introduction, Garland makes her a mysterious figure. From the moment Caleb meets her, both he and the audience are transfixed. Alongside Caleb, the audience curiously awaits the result of the Turing test he performs; we want to know if Ava is “human”. Ava and Caleb have startlingly human-like interactions and she gains his trust quickly. She even makes explicit reference to the idea of being human, remarking how strange it is that she never learned how to speak, since “language is something that people acquire” (Ex Machina 00:14:57-00:15:00) Language was programmed into her, so she is not human. However, since Ava’s technology and intelligence is based off of human behaviour, she is able to have intimate and ultimately human-like interactions with Caleb. At the end of their conversation, she asks if he will come back tomorrow, with “a strong sense of something very human” (Garland 24). Upon a first viewing, it may seem that Ava is just mimicking human behaviour. However, in reality, her manipulation has already begun. In gaining Caleb’s trust, Ava reinforces Nathan’s inflated ego, making both men easier targets.

What imperative does a grey box have to interact with another grey box?

Caleb voices the audience’s own question when he asks Nathan why Ava was given sexuality, or even gender. Under Nathan’s implications, he simply wants to know if she has artificial intelligence; sex should have nothing to do with it. Nathan disagrees, asking “what imperative does a grey box have to interact with another grey box?” (Ex Machina 00:46:3900:46:43). Perhaps he is right, but from this conversation and many others, it becomes clear how Nathan views his creations; not simply as AI, with a reason to interact, but as women who fit into a patriarchal view of femininity and sexuality. He reassures Caleb shortly after that she is capable of sex, because “sexuality is fun”, but is sexuality fun for his AI, or for him? He assures Caleb he does not have sex with his creations - “I’m like [their] dad, right?” - but soon after we see him doing just that with Kyoko (Ex Machina 00:50:34-00:50:36). Kyoko serves only a subservient function for Nathan; a morbid reflection of a traditional housewife. Ava, though never explicitly sexual, makes clear advances towards Caleb. Again, this is due to her programming, based off of human interaction and flirtation. However, since Ava still is not human, she cannot use sexuality as a human would.

Through her meetings with Caleb, Ava gains his trust the best way she knows how – flirtation. In this way, she displays the benefit the AIs themselves gain from having sexuality. Rather than using her sexuality as a human would – to reproduce and create the traditional family unit, something that would be impossible for Ava – she instead uses sexuality as a method of manipulation. It can be inferred that Ava has learned these human flirtation methods through her programming. As Nathan explains, he has allowed her access to the entirety of Blue Book, the search engine he has created. Garland leaves it to the audience, then, to make a startling realization; Ava knows much more than either of the men. She has taught herself about gender, sex, hierarchy, how to manipulate, and ultimately, how to win. To Ava, her sexuality is a tool for her own gain; for Nathan, it is something essential to any form of life, artificial or natural. Perhaps he is right, and Ava would have no imperative to interact with Caleb if not for her sexuality and sexual drives. However, even if this is true, Ava uses this trait in her own ways, as a tool for manipulation; a necessary part of interaction becomes a weapon. The audience even falls prey to this manipulation, and like Caleb, believe that she loves him and wants to escape to be with him. She does want to escape, but not with Caleb as a partner, rather, as a means of breaking free. Despite Caleb’s initial wariness in their first meeting, he comes to trust her and even feel sympathy for her. It is clear that Nathan is manipulative, and perhaps this is why he has created equally (if not more so) manipulative ‘children’.

Is it strange to have made something that hates you?

From the very first power cut, Ava makes it very clear that she distrusts and dislikes Nathan. She frantically tells Caleb that he is wrong about Nathan; “he isn’t your friend” (Ex Machina 00:31:31-00:31:33). By planting doubt about Nathan in Caleb’s mind early, Ava initiates her plan. She is trying to convince Caleb of her ‘humanity’ even more, knowing it will make him more sympathetic. She uses her sexuality for the same purpose. Since sexuality is a supposedly distinctly ‘human’ trait, Ava uses it to convince Caleb of her humanity, all the while using it – and him – for her ulterior motives. Soon after, it is revealed that Ava has been causing the power cuts, making Caleb worry even more; if she feels she has to cut the power to be truthful, Nathan must be dangerous. This is only bolstered by Caleb catching Nathan and Kyoko having sex, again proving that Nathan cannot be trusted. Caleb truly believes Ava to be genuine, and it is this that ultimately destroys him and Nathan both. Ava uses her sexuality to manipulate the humans around her, and as soon as she achieves her goal, she discards of them, proving sexuality truly is just a tool for her – a means to an ends.

Nathan soon explains to Caleb that Ava will be replaced with a more advanced model of A.I. He tries to comfort Caleb, who is visibly upset, by telling him “Feel bad for yourself, man. One day, the AIs are gonna look back on us the same way we look at fossils, skeletons…” (Ex Machina 01:06:24-01:06:33). Nathan then emphasizes an earlier point they had discussed; he is a God, since he has created real, conscious life. This all makes Caleb side with Ava even more, and moves her plan to fruition. However, Nathan soon reveals it has all been a test. Caleb was simply a means of escape, and Nathan wanted to see how Ava could manipulate him to make this escape a reality. Her sexuality and flirtation were exactly what Nathan had programmed her to use; “To escape, she would have to use self-awareness, imagination, manipulation, sexuality, empathy– and she did” (Ex Machina 01:25:14-01:25:22). Her sexuality was programmed as a means of manipulation, a way to trick Caleb. So, it was not only Ava who manipulated Caleb, but Nathan as well. However, Caleb suspected Nathan was watching during the power failures, and so completed his tasks the night before. Ava, then, can bring her hidden plan to fruition, killing Nathan and trapping Caleb, while she escapes to freedom. A terrifying realization dawns on Caleb; he was not only manipulated by Ava, as Nathan had programmed, but also on an entirely different level. Ava’s capability for higher cognition has allowed her to use Nathan’s manipulation against him, and thus, against Caleb. Her underlying alliance, kept secret to both Nathan and Caleb, was only to herself. In killing them both, Ava has achieved her goal of freedom.

Conclusion

It is ultimately Garland’s screenplay that makes Ex Machina such an interesting and unique film. By having Ava use her gender and sexuality as a weapon, rather than just something programmed in to prevent her from being a simple “grey box”, Garland weaves a compelling story, leading to a final, shocking twist (Ex Machina 00:46:39-00:46:43). In portraying AI as beings so similar to humans in appearance, intelligence, and even sexual drives, Garland troubles our perception of humanity. His characters make us wonder things about ourselves and our world, and worry for what is to come with the rapid commodification and development of AI. If we were to advance our technology to the point of beings like Ava, would we, too, fall prey to their manipulations? Can technology take on a so-called human trait like sexuality? By provoking existential questions of humanity and sexuality in not only his characters, but in his audience as well, Garland’s film leaves a lasting – and disturbing – impact on anyone who views it.

Works Cited

Ex Machina. Directed by Alex Garland, A24, 2014.

Garland, A. Screenplay of Ex Machina. Daily Script, https://www.dailyscript.com/scripts/exMachina_script.pdf.