And Blade Runner's absolutely superior to Do Androids Dream Of Electric Sheep, not that the similarities are anything but superficial in the end though, they even espouse opposite philosophies regarding what counts as real.
Rick Deckard gets to be ambiguous because he's the audience, that's why he gets to be the only one to move between the upper and lower class worlds at his own leisure, whether he's a replicant or not's utterly immaterial because it's the question asked of the audience if they are subaltern or not that's ultimately the point.
"Would you step out for a moment Rachel?" That's the minute she becomes subaltern, excluded from the conversation of which she's the subject of, her voice in it does not matter anymore.
Roy Batty's whole fight's to be not subaltern, that's why he saves our protagonist to tell him a story before he passes, to pass on what he was in some tiny way.
Because often the final crime committed against an oppressed group's that they are made to have never existed at all.
Hence such focus on eyes and hands as our means of interacting with the world, class analogues in replicants twice being identified by their hand's resistance to extreme heat or cold over the more privileged, scrutinizing the souls of the underclass with the Voight Kampff test.
If that's no substance, I don't know what you think substance means.
And that's just the themes alone, to say nothing of the utter perfection in every other aspect of filmmaking up on display.
