2067 (2020)

2067 is an Australian science fiction film about a poisoned planet, a synthetic oxygen supply, and a time machine that offers humanity one last bureaucratic chance. The climate crisis is not a backdrop. It is the load-bearing wall. Deforestation, oxygen depletion, nuclear war, and a future rainforest that must be sent backward through time to revive the present. The film treats environmental collapse as both premise and solution, which makes it a climate crusade in narrative form. The sermon is mostly embedded in plot mechanics. Occasionally it states the moral outright. Mostly it lets the dying atmosphere do the talking.

The villainous Chronicorp hoards its time machine so a chosen elite can flee a ruined world while the masses choke. That is a corporate greed critique, though it remains subtext. Regina Jackson is a female chief technology officer, but she is the villain, and Xanthe exists largely as a dying wife whose function is to motivate the hero. No feminist thesis emerges. The cast is notably diverse for an Australian production, with Indigenous actors Deborah Mailman and Natasha Wanganeen and Sana'a Shaik in key roles, yet race is never a subject. Queer lives, body diversity, and neurodivergent experience are absent. The film invents a future history instead of revising a real one.

The result is somber, technically ambitious, and emotionally overwrought. It wants to be Kubrick by way of Gilliam and lands nearer to an expensive streaming pilot with a better score. The performances are earnest. The dialogue is banal. The message is unmistakable: save the trees, distrust the corporation, and perhaps do not send your son through time. As a specimen of modern social consciousness, the film is uneven. It cares deeply about the planet, gestures at representation, and has little interest in anything else. The apocalypse has rarely been so well intentioned and so tiring.