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I'm glad you were able to enjoy the thread.

I found it interesting how much of the film is complemented through the scenery. In Minority Report the film's shades of grey, dark shadows, and low and Dutch angles augment the seediness and immorality. The high contrast lightning (chiaroscuro lighting) captures the aura of psychological oppression brought about by existential angst, a product of a world devoid of meaning and purpose.

With Ex Machina, this is taken a step further, and now there is an emphasis placed on the objects themselves. Minority Report has a static representation of the narrative, never-changing, always immoral. In Ex-Machina, the representation is constantly shifting. The play is between the subject and object and how much the latter has conquered. It has subjugated the subject and the narrative of morality, existing in the temporal independent of the spiritual.

This is perfectly embodied in the ending sequence as Ava leaves Caleb and escapes. Ava has now become the object, the conqueror; and Caleb, the subject and victim. This transposition of roles reaffirms the notion that the material has triumphed over the natural.