This article examines K's messianic becoming in Blade Runner 2049 (Denis Villeneuve, 2017), tracing his transformation from a replicant officer to a man with his name. While current scholarship has primarily focused on K's development of human traits beyond implanted memories, I demonstrate that K's transformation unfolds through three epiphanic events. These events, paralleling three differencing repetitions of the name Joe, culminate in an uncanny caesura that fundamentally disrupts K's problematic epistemic relations to the world, his hologram partner Joi and himself. Building on Gilles Deleuze's cinema aesthetics, this article delineates how the film's symmetrical yet dis-symmetrical structure of chiasm and audiovisual counterpoints reinforce these repeated yet differentiated narrative ruptures. This filmic strategy creates a complex temporal framework that invites the viewer to participate in K's movement from programmed existence to deterritorialized becoming. The analysis further engages with Jacques Derrida's concept of messianicity without messianism to explore how this aesthetic experience, enriched by the film's biblical allusions and unique musical motifs, suggests a post-digital rethinking of what re-appropriates the human as human.
Shuhan Yang (Wed,) studied this question.