Alien Romulus: An Introspect on Women’s Roles
Review by Omar A. Casas Jr.
Edited by Abigail Vela
“Alien Romulus,” directed by Fede Alvarez, brings new life to the Alien franchise by returning to its terrifying, stripped-down roots—Not to mention its cassette futurism set design, which Alien franchise fanatics, like yours truly, gush over.
In a nutshell, and as spoiler-free as possible, “Romulus” takes place between the events of “Alien” (1979), directed by Ridley Scott, and “Aliens” (1986), directed by James Cameron. The story follows a group of colonists who search for a means to escape their mining settlement in pursuit of a better life by scavenging a derelict space station. Unsurprisingly, during their expedition, their search turns into an intense fight for survival against lurking Xenomorphs. From beginning to end, Alvarez’s vision is a finely crafted hybrid of Ridley Scott’s original vision meshed with the action-packed and fast-paced spirit of James Cameron’s sequel, ultimately creating a fresh and thrilling narrative, which takes a critical look at women’s roles, while honoring the franchise’s legacy.
The film’s lead, Cailee Spaeny as Rain Carradine, offers a character arc that subtly mirrors that of Ellen Ripley from the original entries in the franchise. We witness Rain’s transformation into a fearless fighter, showcasing steady empowerment rather than immediate invincibility. With its gradual and consistent pacing, “Romulus” explores the theme of resilience and undiscovered strength while adding depth and convincing character development to its protagonist—This perfectly balances out with the synthetic humanity of David Jonsson’s android character, Andy, who provides emotional tension by invoking a sense of frustration/investment from the audience.
Much like the original installment and devoid of romantic pursuits, “Romulus” also challenges women’s traditional roles in survival horror. Rain’s character evolves from a place of vulnerability to heroism, defying the tropes that often reduce such leads to predictable arcs or supporting roles. This framing resonates in broader discussions of women’s roles in challenging oppressive systems, central to movements advocating for gender equality. Rain’s defiance against Xenomorphic threats and corporate villainy easily mirrors the real-world struggles of women standing against patriarchal structures, whether in social circles, workplaces, politics, or other societal spheres, comparable to the machismo culture in the Rio Grande Valley.
The film also serves as a social commentary on systemic exploitation, drawing parallels between the corporate greed of Wyland-Yutani and real-world issues such as environmental destruction and utter disregard for the quality of human life. These issues are all too familiar in the Boca Chica Beach and Brownsville areas with the encroachment of SpaceX and Rio Grande LNG, as well as other areas of the Rio Grande Valley where natural landscapes are being uprooted for plaza strips, carwashes, and urban sprawl.
Though, at times, “Romulus” mildly rides the coattails of past franchise elements, its central narrative and performances are well beyond compelling. By balancing horror with action, Alvarez delivers one of the most faithful entries in the Alien saga. Whether or not the Alien franchise is your cup of tea, “Romulus” as a stand-alone movie stands strong on its own two feet and is worth watching at least once.
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