About Consciousness and the World

Nellie 2022-03-26 09:01:09

How to eliminate the "Kurishov effect" that appeared at the beginning of the film? For Kaufman, the answer is that as a virtual brain-image, the non-existence of the other is discovered in the encounter of the other, thereby invalidating the front/reverse fight of the subject-object dichotomy, just like the rotation seen by the heroine in the basement The washing machine, the main body moves towards the "object", but it is finally incorporated into another main body in a tree-like manner. In "I Want to End It All", only the suffocating interior view of the car is a real physical space, as brain or as a coffin. It's still, or unaware of its movement except for the snowflakes drifting backwards in the foreground, like the backdrop of a classic Hollywood car perspective. The space outside the car is a black hole of memory that is repeatedly inhaled and controlled by the virtual. With the invasion of the "subject", the potential is materialized in the way of being given direction, and finally accumulates the intensity, until the final locked door - unable to return physical brain. In this way, "I" with some American-style suspense shells can be first understood as Godard's self-talk, but finally presented as a musical version of "Wild Strawberry."

Kennedi 2022-03-26 09:01:09

Another deeply depressing work by Charlie Kaufman, full of fear and helplessness about aging and being without companionship. The endless driving in the blizzard and snow, the empty and empty campus corridors in the long cold night, are desolate and lonely, and there is no one to rely on. When the fatal loneliness invaded, the pas de deux scene in the fantasy of the old cleaner pulled me out of the atmosphere of the previous film, as well as the speech + opera that followed. Although this separation between the front and rear is interesting, it still detracts from it to some extent. Overall look. Jesse Buckley did a great job. Dream-like narrative + multi-type blending + multi-video embedding. The rambling chatter about the philosophy of life in the car is reminiscent of [Half-Dream Life]; Talk + Act [Affected Woman]; The Bizarre Farm and The Boyfriend's Parents Played by Thewlis & Colette are very [hereditary]; awkward dining table In the conversation, parents of different ages appear alternately, the time and space are confused like [Warm and Inner Light]; the connection between illusory characters and real situations is like [Mulholland Road]; Jesse Plemons resembles Hoffman, and then Coupled with the theme of aging and despair, it travels back to [New York Metaphors] in minutes; it is homogenous to [Life and Death] before the end. (8.8/10)