But it does not exist in "waking life"—even if it exists, it is cleverly concealed—normal time. The protagonist has been wandering, and the picture has been wandering. The audience is lured into the trap of language texture: only language, a huge and seemingly chaotic large monologue, can be grasped by the audience-even if it is messy, it does not break away from the grammar , And in the plot and picture, we can even say that the whole film is a fragmented conjecture. Is this the director's malice or purpose?
Perhaps the director also hopes that the audience will give up the plot and devote all their energy to Zhuang Zhidie's Zen machine. He doesn’t have this need at all. People who are willing to spend time watching the film twice or three times don’t care about the bullshit plot at all. Such people are paranoid, otherwise they would rather find a tango record and listen to it (by the way, The background music is appropriately selected tango that can highlight fatigue, tension, worry and trying to grasp a trace of rational emotions, which is great).
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