It's a vision of the future: cameras are getting smaller and smaller until then they disappear. Why? Cars say because people hate machinery. They also fear the day they will be abandoned. Is it a good thing to think about? Become more natural, close to human softness, and return to nature. It seems that some of the drawbacks of the camera can be ditched.
Smaller cameras also seem to contain a metaphor for the full-scale invasion of human life by the filmed entertainment industry. For example, the audience in the zombie-like emotionless and terrifying cinema at the beginning.
Filming without a camera seems to be happening anytime, anywhere, and it is hard to tell whether it is true or false. Play is like life, life is like play. But this time we also have an off-screen perspective from the actors. Running a mission has no emotion, but it should be very emotional.
"Are we on a mountain or forest mission this week?"
"I miss the forest."
Sitting in the sacred car, whizzing past Paris out the window. He looked up at Paris in the small video in the car. Turns green to red and distorts. The use of color reinforces the strangeness of the modern city to the actor and his own sense of alienation.
Each mission seems to reveal something about making the movie, and read some irony and sadness if you will. For example, the father character in the car that almost fooled the audience. The uncle character who fell in love on the hospital bed and asked his name before leaving. The only real-life segment of him in the film should be thirty minutes with the actress in the sacred car. When the actress starts singing, it seems that the director is confounding the audience's judgment with the musical again.
"Do you have thirty minutes?"
"Yes."
"Come with me then."
Finally he shook her hand and left. Looking at the two people lying in a pool of blood, he ran back to the car yelling like a madman Maud. Their feelings are all spent in the play, and they are so helpless, restrained, forbearing and indifferent in the face of the few truths that belong to their own real life. sorrow.
Later the film becomes more absurd and mysterious. His last assignment was to spend the night at the monkey's house. This ape seems to represent an abstract generalization of all human beings, no matter which one is specific. The sacred cars began to whisper in the night.
Finally, she also put on a mask and walked into the night.
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