Andrew Garfield plays a villain. Not the tortured kind, not the misunderstood antihero—a diabolical one. In Luca Guadagnino's 'Artificial,' reviewed by IndieWire as a dark and campy tech comedy, Garfield embodies a techno-nihilist modeled on Sam Altman, the OpenAI chief whose public persona oscillates between messianic optimism and apocalyptic hedging. IndieWire frames the film as the sequel 'The Social Network' deserves, suggesting Guadagnino has done for the AI gold rush what Aaron Sorkin did for social media's origin myth: stripped away the innovation theater to reveal the human recklessness beneath. On its surface, 'Artificial' appears to chronicle the race toward artificial general intelligence, the tech industry's current holy grail. Garfield's character operates in that familiar Silicon Valley register—visionary language, world-historical stakes, the casual assumption that moving fast and breaking things applies even when the things in question might be civilization itself. The film's campiness, per IndieWire's assessment, suggests Guadagnino isn't playing this straight. He's leaning into the absurdity, the performative genius, the way tech leaders dress nihilism in the language of progress. This isn't a thriller about whether AI will destroy us. It's a comedy about how stupid we've been in building it. The real subject here is hubris dressed as inevitability. Guadagnino, a director known for excavating the erotic and violent undercurrents of seemingly civilized spaces—think 'Call Me by Your Name's' sun-drenched longing or 'Bones and All's' cannibal romance—turns his attention to the tech sector's most seductive lie: that intelligence and wisdom are the same thing. The film's title works as a double edge. Artificial intelligence, yes, but also artificial everything else—artificial urgency, artificial profundity, the artificial framing of reckless experimentation as moral duty. IndieWire's description of the road to smarter AI as already stupid points to this