Android

On a cramped orbital lab two scientists keep to themselves, running forbidden experiments on humanoid machines while life outside their station moves on. Dr. Daniel is eccentric and controlling, his assistant Max is shy and awkward, and their routine is interrupted when three fugitives show up needing shelter. One of the newcomers is a woman, and her presence shifts the balance, drawing attention from both men in different ways. Tension builds as motives clash and one of the visitors reveals darker plans, turning the station into a pressure cooker where loyalties and intentions are tested without resorting to big revelations about how it ends.

Released in 1982, Android was directed by Aaron Lipstadt and created by James Reigle and Don Keith Opper. The film features a memorable turn from Klaus Kinski and was made on a modest budget, reflecting its independent, low-budget production values and practical effects.

The movie saw a limited theatrical run and didn’t register as a mainstream box office hit, but it earned a second life on home video and late-night genre programming. Its financial footprint stayed small, yet it kept finding viewers through rental shelves and cult screenings rather than wide distribution.

Among science fiction aficionados Android developed a steady cult following, largely because of Kinski’s intense screen presence and the film’s claustrophobic, retro-futurist sets. Fans often point to the eerie atmosphere and practical effects as highlights, and the movie pops up in discussions about offbeat 1980s indie sci-fi offerings rather than mainstream milestones.

Critical response was mixed, with viewers split over pacing and production polish while many praised the performances and mood. The film questions what separates people from their creations, examines control and desire in confined spaces, and probes the consequences of treating artificial beings as experiments. It’s a flawed but intriguing genre piece that raises uneasy ethical questions more than it answers them.