“We only got this because,” Nolan begins the sentence, and Nora ends it: “… because they felt bad for us.”
One child says adults constantly watch him in his room, asking if he’s okay. “I say ‘I’m fine’. What would they say if I said no?”
Filmed by cinematographer Adam Morris Philp and edited by Signe Rebekka Kaufmann, the film has a bit of Terrence Malick feeling – I mean he has a knack for finding metaphors and symbols in activities and images. everyday, and it presents them in a way that suggests that there is a world beyond that which we can deal with with our brains and senses, all the while stopping us from hanging labels or explanations on moments of lyricism. of the movie.
Whether this “world beyond” is Heaven, another dimension, another timeline, a void, or something yet to be described is irrelevant. We all feel it, this something mysterious, even when we deny its existence, and that is why we have elaborate belief systems articulated through religious texts and philosophical tomes and “Elegy Written in a Country Churchyard”:
Here rests his head on the knees of the Earth
A youth to Fortune and unknown fame.
Fair Science did not frown on its humble birth,
And Melancholy marked it for his own.
You feel that, you feel there, while you are watching this movie. Everything is here.
Loss, death, void: this silent and absent presence lives between the cuts, beyond the frame line. The unsolved mystery; the unresolved, period: the unanswered question.
There are no answers in this movie. It’s just showing us something real and saying, “Here, look. Think about it. Feel it.” Watching and listening, watching, really watching, this film, you feel this tingling of energy, this cold electricity, the strangeness of Freud; the trigger in us anything that says, “Watch out – there’s something else out there. There’s something else to all of this.”