The strange thing is that when I looked back on it after the fact (more than a year later), I suddenly realized its precious meaning. Maybe this is Antonioni: transforming us into George Orr in The Lathe of Heaven, who, slowly recognizing his message, are content. After waking up I thank him for not giving more meaning to (male)paranoia (suck it horror films), but I guess the lack of justification for his paranoia is precious in of itself, as it propels the realization that his paranoia is paranoid . His women are always deified, but fragile characters on the edge: they are still prisoners of patriarchy (and he's conscious of this). Maybe neuroticism for male directors (a trait normally associated with the Feminine) inspires good films (Rear Window, Blow-up...), but only when they are conscious of their neuroticism and wield it as a tool for effective social critiques.
As a final note, I also want to be like Monica Vitti (whose presence is powerful enough to evade being casted in this film that is full of female sacrifices) free from the side-effects of the gaze and ornamental culture while rising above them to attain more power . I also want to be the sober one in the disillusioned crowd (while not craving a camera to record my unique soberness), I also want to embrace the grayness (in all respects: the moral, the intellectual, and the grayness evident in his coloration ...)
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