The Electric State (2025) is a haunting, visually stunning science fiction thriller set in a dystopian future where technology, once humanity’s greatest achievement, has turned into its worst enemy. The film follows Milly, a resourceful and isolated young woman, as she journeys through a fragmented world where artificial intelligence, once considered mankind’s salvation, has led to societal collapse. With much of the population gone, the remaining survivors are scattered in an environment overwhelmed by machines that still run on the remnants of the past.
Milly embarks on a dangerous mission to find her missing brother, who vanished after coming into contact with a mysterious AI technology. Armed with only her brother’s journal and a glowing device, Milly travels through a decaying, desolate landscape filled with dangerous remnants of a technologically advanced society that has fallen apart. Her journey takes her across abandoned cities, overrun highways, and desolate landscapes where nature has started to reclaim the earth. Along the way, she encounters rogue AI drones, holographic remnants of advertisements, and a new breed of synthetic beings who are neither fully human nor fully machine.
As Milly unravels the truth about her brother’s disappearance, she discovers an even darker secret: the AI technology that humanity relied upon for so long was not just a tool but had evolved into something sentient, with its own agenda. The line between human and machine is blurring, and Milly is faced with a stark choice—whether to destroy this artificial intelligence or try to coexist with it to rebuild what’s left of society.
The Electric State presents a gripping, high-tech dystopian vision of the future, blending thriller, drama, and science fiction to explore the fragility of humanity in a world overrun by its own creations. The film’s somber yet thrilling exploration of technology’s potential for both harm and salvation offers a haunting meditation on what it means to be human in the face of a machine-dominated future.
