ALITA: BATTLE ANGEL

ALITA: BATTLE ANGEL (vt. BATTLE ANGEL ALITA). Robert Rodriguez, director, co-script. James Cameron, Laeta Kalogridis, Robert Rodriguez, script. Based on the graphic novel series Gunnm by Yukito Kishiro. Canada, Argentina, USA: Twentieth Century Fox, Lightstorm Entertainment, Troublemaker Studios, in association with TSG Entertainment (production) / Twentieth Century Fox (US and most places, distribution), 2019.[1] Caylah Eddleblute and Steve Joyner, production design. Not to be confused with AELITA: QUEEN OF MARS (1924).[2]

Post-apocalypse cyberpunk movie, featuring a female-gendered cyborg.

For IMDb Storyline: here[3]

Opening of plot summary from Wikipedia:

In the year 2563, a catastrophic war known as "The Fall" has left the Earth devastated. While scouting the junkyard metropolis of Iron City, cyborg scientist Dr. Dyson Ido discovers a disembodied female cyborg with a fully intact human brain. Ido rebuilds the cyborg, who doesn't have any recollections of her past, and names her "Alita" after his deceased daughter.
Alita befriends a teenage boy named Hugo, who dreams of moving to the wealthy sky city of Zalem. Hugo introduces her to the competitive sport of Motorball, a battle royale race wherein cyborgs fight to the death.[4]

The players also try to score goals in the manner of Rollerball, very much in the manner of Rollerball, as a kind of cinematic citation.

Whatever is happening in the graphic-novel ALITA: BATTLE ANGEL is "recombinant cinema," putting together a number of relevant motifs and referencing a range for earlier works.

• For Motorball, cf. and contrast ROLLERBALL (1975) and its source story "Roll Ball Murder" (1973). 
• For Alita as female-gendered construct, note tradition going back to Robot Maria in METROPOLIS (1926) through the female terminator T-X in TERMINATOR 3: RISE OF THE MACHINES (2003).[5]
• Note postmodern "Industrial" and "Brutalist" mise-en-scene in "the junkyard metropolis of Iron City," on the surface, presumably contrasted with the floating sky city of Zalem and definitely contrasted with a few shots of the cleaner, more Modernist decor of the lab/workshop of the film's surface-world antagonist.
• For the stealing of body parts, in this case prosthetic and literally parts, cf. and contrast Max Headroom. For extreme prosthetics generally, cf. and contrast Limbo.
 

RDE, Initial Compiler, 13Feb19 f.