In Alfonso Cuarón’s Children of Men (2006) the ailment that has struck humanity is infertility. For eighteen years, no babies have been born on the planet, which has led to the breakdown of societies across the world. Britain has reverted back to using World War 2-style propaganda to stress its superior ability to deal with the crisis over the rest of the world. But it deals with it by interning all immigrants in camps and by offering legal suicide pills to the elderly. In the midst of this journalist Theo is approached by his ex-partner Jules, now leader of the rebellious ‘Fishes’, and asked to smuggle something very valuable to the coast: the girl Kee, who is pregnant.
The dystopian background is established in the opening scenes of the film. Theo enters a London coffee shop to get a take-away coffee. On the TV in the shop the news announces that the youngest person on the planet, 18-year-old ‘Baby’ Diego, has been killed. The crowd in the shop are crying. Theo walks out and puts his coffee on a nearby electricity box to stir in his sugar. Then the coffee shop he has just exited explodes. Although this explosion is referenced later in the film (it was orchestrated by the Fishes), it is not treated as the extraordinary event that it would be in the ‘normal’ world. (Re-watching Children of Men in 2016, after recent terrorist attacks, makes it resonate in new and different ways.) When Theo asks his boss for permission to work from home later that day, he uses Baby Diego’s death as a pretext, and not his near-death experience. Equally, later on in the film Theo gets kidnapped off a London street by the Fishes, and later dropped back again. Neither instance appears to even raise an eyebrow of passers-by.
Fig. 1: A café which Theo has just exited blows up
Fig 2: Jasper’s house in the woods
In this sense, Children of Men follows a well-established dystopian trope of equating the city with degeneration. This cliché is in the first instance strengthened when Theo visits his friend Jasper, an old political activist and hippy who lives out in the woods in a ramshackle building where he grows his own weed. Jasper’s house is a sanctuary where Theo can speak freely. The countryside appears relatively untouched by the ravages that have hit the city, and Theo’s cynicism is juxtaposed with Jasper’s optimism. But this division gets blurred as the film progresses, when Theo’s attempts to save Kee lead the Fishes (who turn out to be ‘baddies’ after all) to Jasper’s house, where they execute the old activist.
Fig 3: The Fishes kill Jasper
And of course the infertility exists in the countryside as much as it does in the city. Choosing infertility as the ‘disease’ inflicted on mankind, rather than a bacteria or viruses, allows the characters and audiences to speculate what humans have done to bring this upon themselves. The disease is a ceasing of bodily functions, not an external invasion that humankind has to fight. Although it is not revealed what the cause of the infertility is, characters drop some clues throughout the film that allow for a reconstruction of events. The film is set in 2027. Baby Diego dies at 18 years old, so the last babies were born in 2009. Miriam, Kee’s midwife, tells Theo that the infertility started by pregnant women having miscarriages, which occurred earlier and earlier in the pregnancy, until it became apparent that no new pregnancies were registered. Theo and Jules haven’t seen each other for twenty years. Jasper reveals that the couple had a baby, Dylan, who died in the 2007 flu pandemic. From these facts we can gather that the infertility was preceded by at least one pandemic of a viral disease, and that when the infertility set in it was a gradual process. It was not a divine judgement meted out to the masses (although there are plenty of religious groups in the periphery that take the infertility to be God’s punishment), but rather a halting development that took time to really take hold.
Fig 4: The ‘Tomorrow’ arrives to bring Kee and her baby to safety
But what caused it? And why is Kee able to get pregnant? The story wisely does not answer these questions. It is self-aware in its positioning of Kee, who jokes about being the virgin immaculate. In fact, she slept around and does not know who the father is. This leaves open the possibility that the issue is with the male half of the population, echoing noughties fears about mobile phones in tight trouser pockets. The end of the film cannot help but echo religious sentiments, with the baby being hailed as a source of purity and goodness, and with the saving ship ‘Tomorrow’ advancing through the fog. But is Kee’s baby the Salvation of humankind and the start of a new generation, or is it just a one-off medical incident?