The Matrix Resurrections writers needed to change Trinity’s role in the series

The Matrix Resurrections, more so than maybe any other installation in the age-old Matrix movie series, is a story fixated the relationship in between Neo and Trinity. In the long-waited for follow up, Keanu Reeves and Carrie-Anne Moss repeat their functions as the leather-coated, mirror shades-wearing resistance fighters presented in the initial Matrix trilogy, along with the return of co-creator Lana Wachowski as the movie’s director. Almost 20 years have actually passed given that the release of 2003’s The Matrix Revolutions, to state absolutely nothing of the 60 years that expired in between the occasions at the end of that movie and the start of The Matrix Resurrections.

For Resurrections co-writers David Mitchell and Aleksandar Hemon, both of whom formerly worked together with the Wachowskis’ on the Netflix initial sci-fi series Sense8, approaching the job of composing Trinity was much a matter of dealing with how the tradition and culture surrounding the franchise had actually changed over the previous 18 years as it was crafting the next sensible action in her own arc.

“Trinity was a character in the original trilogy and a woman with such power and agency and ability,” Hemon stated in an interview with Polygon. “The Matrix set a standard for female action heroes, and so in some ways we had to live up to that while also taking into account the passage of time. We had to, in some ways, update Trinity while giving her the same amount of agency she had in the first trilogy. A lot of things have changed for the better in many ways, but not entirely, for women in cinema and for women in the world. Trinity’s role had to reflect that.”

Of the numerous scenes throughout The Matrix Resurrections that show this advancement of Trinity’s character, Mitchell and Hemon mentioned her and Neo’s discussion in a cafe as both the “beating heart” of not simply her arc, however the movie as a whole.

“It’s one of the quietest scenes in the whole film, where Thomas and Tiffany are simply talking, and she’s doing most of the talking,” Mitchell stated. “She’s just talking about her life, its sacrifices, its disappointments, and it’s not operatic or over-the-top. It’s almost Chekhovian, if I can get away with that, how she explains the quiet disappointments in her life and he doesn’t contradict her. He doesn’t correct her, he doesn’t argue with her. He doesn’t explain anything. He just sits there, listens, and that’s quietly revolutionary. I can’t think of many films where a man does that, especially as many films with the level of action and explosions that you get in a Matrix film.”

Regarding the concern of whether Trinity’s arc in The Matrix Resurrections was a response to the previous twenty years of cultural advancement relating to gender relations or a choice born naturally out of the procedure of composing the movie, Mitchell thinks the response exists in between the 2.

“Yes, the film is responding to what’s happened in the world with regard to gender relations, and in other ways, over the last 20 years. As it should, as art should. It’s also true that, maybe more than the trilogy, this film really is about both [Neo and Trinity] and the third thing they make, which is love. The Matrix Resurrections is an action movie, it’s a visually sumptuous all-you-can-eat feast. However, at its heart, it’s also a love story.”

Jobber Wiki author Frank Long contributed to this report.