The brilliant sci-fi Ex Machina (Alex Garland, 2015) received numerous awards as well as two Academy Award nominations for Best Original Screenplay and Best Visual Effects. Nathan (Oscar Isaac) invites Caleb (Domhnall Gleeson) to his remote home to assist him in the evaluation of his latest invention, a humanoid A.I. he calls Ava (Alicia Vikander). Nathan, the megalomaniac genius with disconcerting misogynist tendencies, wants Caleb to Turing-test Ava. The exchange is set up with Ava behind transparent glass and Caleb seemingly leading the conversation. But this is where it gets complicated. Why is Ava behind this boundary? Who is interviewing whom? And who is watching whom?
At one point during a conversation with Caleb he had asked her were she would go if she could leave. Her wish is to go to a busy junction and watch people. Blending in perfectly, synthetic skin covers her transparent body parts, she can now observe individuals to her heart’s content. Where will she go from here?
 In Hebrew culture, the name means “God will give,” which is a nod toward Nathan’s God-complex and creative genius.
 One wonders if his endeavours to create artificial intelligence stop short of his wish to manufacture the perfect sex toy as exemplified by Kyoko: mute (because which sexist creator would want “his” woman to talk?), obedient (great cook and cleaner!), and beautiful. Did he get bored with her? What about all the other divine specimens of female anatomy hidden in his closet?