How can a person who resists being described emerge from a work that is naturally alien (author's), or how can an observer restrain his gaze (demand) equally? Or how can one be both at the same time? In terms of the result of crying, the method of this film and her other methods have given me a lot of enlightening hints. There may be a fresher and less rigid way of the boundary between myself and others...maybe sometimes It is the problem itself that bypasses the communication, and maybe sometimes not. In any case, the connection between these feelings is not ignored before the conclusion, and the way of describing them is what I have seen... and the way she sees it is something I have never seen before. Seeing equality, so I am particularly moved... Whether it is person to person, man to man, woman to woman, or other arrangements, or the relationship between the author and the work.
I think that even if the foundation is incomprehensible, what is said about the incomprehension is the basis for mutual understanding. It's not that knowing it brings problems, but that it's not enough to know. For example, what is "freedom itself"? It is not to deny Mona's practice, and it is not the other way around. I think I will look at her with a kind of horror and caution. Is this the relationship between me and her?
Also for the dark core of Mona that is not unresolvable, but often unresolved... I wanted to analyze a lot, but I suddenly felt that it was enough.
If you briefly describe the reason for your preference, a variety of mechanically impossible portraits are drawn here. Just like myself.
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