A t last year’s Toronto film festival, British romance All of You premiered at a time when we were starting to feel a little fatigued with films like it. The drama was one of the many Black Mirror-adjacent dystopias of that time, shown at the same festival as The Assessment (what if the right to have children was decided by someone else) and Daniela Forever (what if a lucid dream trial could reunite you with a dead partner). The year before had seen The Pod Generation (what if babies could be grown in artificial wombs), Foe (what if a body double could take your place) and Fingernails (what if true love had to be scientifically proven) and given the mostly subpar quality of them, we had started to dream of our own radical future, a land where these copycats ceased to exist. One

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