In the last film, Laota handled the opposition between black and white and color media in the most concise way: the doomsday chaos dreamed in black and white images corresponds to the "district" in the stalker, which is the real world - modern society The Reality and Symptoms of Desire – the embodiment of (note how the stomped legs of the mistress give vent to an insatiable lust, and the full outburst of nuclear war as the impossible reality of the Cold War opposition scenario - the game equilibrium of the opposing parties depends entirely on their fear of this nuclear war-reality happening).
The sacred redemption echoes the three icons of Rublev, the difference is that the old tower this time directly unifies this redemption with the crazy sacrifice in the colorful "real world": the sacrifice here is not the kind of desperately filling the big one. It is the black hole of the other-reality, and finally inscribes its own logic in the big other-reality in the name of a hero. On the contrary, this sacrifice will be sublated and retroactive in the big other-reality after the sacrifice is completed. The decision is an outright fallacy or insanity.
This logic is like an inverted version of unfounded worry: if the unfounded worry is true, and he has prevented the collapse of the world in some unknown way, and protected the fragile structure of social reality, which just makes social reality sufficient. Reason dismissed his worries as a downright pointless move.
The raging fire at the end is the visualization of this sacrifice logic - the fire of sacrifice devoured the house, and the ambulance from the mental hospital took the male protagonist, and the wife and daughter were jealous of the doctor. The modern version of the family romance able to continue. The reality of the Big Other needs to eliminate the intermediary that guarantees its consistency and make it disappear outside itself, and this spurned intermediary is the true saint who guarantees the Tao in the beginning (the end of the child's speech).
Of course, Laota did not specify whether the sacrifice of the male protagonist was the wishful thinking of a madman or a tragedy that was abandoned by the big Other, and it was in this "ambiguity" that the brilliance of faith had a chance to rise. As Lacan said, the gods are in the real world, and the theological dimension of this assertion is expressed in the fact that God cannot be symbolized and cannot be fully articulated: if the plot reality of the film makes clear "what is going on", then Sacrificial truth - God's truth will either degenerate into the Other-Reality and be sung in a defiled way, or be subservient to rationalism and become a mere psychological thriller or a psychiatric diagnosis.
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