Set on the cusp of the 19th century in Delhi before the British ruled in that region, the drama depicts the fortunes of the residents of Beecham House, an imposing mansion surrounded by acres of exotic woods and pristine lawns. Tom Bateman (Vanity Fair, Jekyll and Hyde) takes the role of enigmatic, soulful John Beecham, a handsome former soldier who has purchased the magnificent mansion, Beecham House, to begin a new life with his family. Wealthy and distinguished, John has witnessed profiteering and exploitation during his time with the controlling East India Company and has resolved to conduct his business as a trader in a more equitable manner. Determined to escape his previous life, John appears haunted by his past, but is inspired to become an honourable member of the region’s trading community. In spite of John’s good intentions his life is shrouded in mystery and when he arrives at the house with an ‘olive-skinned‘ child named August and two Indian nursemaids, Chanchal (Shriya Pilgaonkar) and Maya (Trupti Khamkar), it causes speculation and gossip amongst the servants that he may be the boy’s father. One of the Indian nursemaids, the beautiful Chanchal, is overly protective and particularly fond of the child. Could she be John’s lover and the mother of August? Lesley Nicol (Downton Abbey) is John’s robust, interfering mother Henrietta who has travelled from England to India to stay with her son. She is accompanied by a young family friend Violet, played by Bessie Carter (Les Miserables) who she is determined to help form a union with John. The pair are accompanied by an old friend of John’s, Samuel Parker, played by Marc Warren (Safe, Hustle) who has also left the East India Company and has returned to India for a fresh start. Samuel helps John to find his brother Daniel who he has not seen for 10 years. John convinces Daniel, Leo Suter, (Victoria) to leave the East India Company and join him at Beecham House. Gregory Fitoussi (Mr Selfridge, Spiral) plays General Castillon, a French mercenary working for the Emperor at a time when the French are challenging the East India Company for India. Castillon is suspicious of John and his motives and conspires to stop John being granted a trading licence. Adil Ray (Citizen Khan, Ackley Bridge) is John’s neighbour Murad Beg who dislikes General Castillon intensely and agrees to help John secure a trading licence. Murad’s daughter, Roshanara, (Kanika Kapur) has an English governess Margaret Osborne, played by Dakota Blue Richards (Endeavour) whose beauty and intelligence catches John’s attention. However, when beautiful Chandrika (Pallavi Sharda) arrives at Beecham House with her entourage she is shown to luxurious guest quarters and immediately insists on seeing August. What secrets does Chandrika bring with her to Beecham House?
有人将无痛感视作异样，将未知的器官视作肿瘤，将无法感染的肉体视作退行；有人接受并利用这样的身体，将食用塑料视作进化，将它视为人类未来的命运。我们能接受人类的身体进化到什么地步？你——能有多激进？
最後一幕堪稱新新時代的聖女貞德，一如的德萊葉電影。
剧情设定挺高级，幻想未来没有生理痛苦的人类。
影片展现出了一种将行动、行动的意识和由两者衍生出的外在于行动主体的他物圈在一起的“作品”，个体通过作品在绝对个体规定论（不论做什么我们都是普遍的个体）与行动规定论（个体的性质会因为行动改变）之间的对抗中消融了空洞的“未来”概念，取得了作为外来现实继续存在的绝对规定之真理性（任何意识都能无条件规定任何个体），个体从其中获得关于自身的真正概念，此时自身行动内容的一切环节都回到自由，自身概念与自身现实也因此相互脱离，“我”和一般个体就没有丝毫的相同之处，但整个过程稍纵即逝，宛如性高潮。
【4.5+】柯南伯格最佳。从一个世界链接向另一个世界，外向的陌异和内化的身体装置得到了惊人的平衡和丰富，不再（如20世纪时）只拘泥于概念化的建构，其在片中被观看后共享，乃至传递向影片的观看者。而每个全新却无意义的组织器官，如块块碎片建筑最后那雄壮而诗意的尾音，我们终于体悟到这是一场混沌的盛宴。
性、暴力、欲望，电影以及艺术无非就那么点事
相当超前的概念，身体和意识到底谁是主宰，科技的进步是否会带来人体自身的进化，人类未来到底会走向何种形态。不愧是柯南伯格的拿手好戏，把身体恐惧做得甚至在某种意义上来说非常吸引人。台词里充斥着文化研究的各种术语和概念，甚至感觉自己在看国外的专业教科书。还有一个让人难以忘怀的细节，但闻其声不见其面的苍蝇。
身体里面长出来的除了器官，还有欲望；躺在尸检台上取下来的除了畸形，还有人性。当人类变得不再像人，欲望和性爱也随之面目全非。想让你把我割开来，然后我们融为一体。可是割开又愈合之后，人类还是原来的物种吗？虽说是科幻未来，但仅仅聚焦在有限的场景和人物，想要探讨的还是很私人化的问询。除了有直接的解剖呈现，也有全裸和以痛感驱动的似是而非的性爱。蕾老师的裸体很美。
跟戛纳邪典佳作《钛》比起来简直就是东施效颦后的尴尬作品，看得人昏昏欲睡，口味不够重，剧情还稀碎，可惜了维果的演技（不是）和蕾雅的肉体，小K更是大概率连自己都不知道在演个什么东西，白白浪费了两个小时。。。
的。人有自由意志，人是有命运的。环境正是
电影放映中大批观众偷偷离场，大批观众悄悄睡着，是不逊于电影本身的奇观。
@@完全不能理解柯南伯格对肉体的迷恋。最后吃塑料真是拯救了世界。
工作十小时之后看这个真的有点too much，还是比《钛》好很多。
Porn is also a kind of art.
提出对进化的质疑，“某种程度上人类也在退化”。这观点挺有意思。
冷漠，旁观。
我们装饰自己 我们掩盖自己 我们暴露自己 我们加工自己 我们吃下自己
我纠结的点在于就算没了痛觉，搞成这样也会细菌感染，会挂的。而且这算哪门子艺术？
剧终时，我没有感到恶心，只是感到一些哀伤。我完全是为了陪刚放假的M君去看的。也许是事先做了强大的心理建设，观影时没有感觉特别难以接受——开场六七个人，散场时除了我俩还剩一位女士。虽然囿于英语水平，台词部分不是很清楚，不过我是将之视为柯南伯格的一种直给的宣言和寓言来看的，在所谓科幻和人类新进化前提设定下。Naked & Nostalgic.
环保宣传片，如果人类不控制塑料的生产和使用，将来就得吃塑料。三星半
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