Regardless of any criticisms that may be voiced about the film, I have developed a profound love for it. There are numerous reasons behind this sentiment, most notably the fact that proponents of postmodern art theory and those who understand the ever-changing artistic elements within temporal and digital contexts cannot craft a cinematic image that is simultaneously realistic, sensitive, and imbued with a sense of strangeness. Even in terms of execution and with a nearly nonexistent budget, it is sheer nonsense to claim otherwise. Those who support such claims are individuals who fundamentally fail to grasp the profound significance of experiencing a cinematic image as a living expression of what individuals convey when they bring their ideas to life on a moving canvas.
This film, likewise, is a creation borne out of nothingness, much like the girl born from the void. It presents intimate dialogues concerning thinkers who do not believe in the metaphysical realm, yet peacefully sway within the aesthetic mysticism of history and self, driven by the natural human desire for fulfillment. They dream, they contemplate, and they philosophize because they are humans who cannot be easily confined within the boundaries of reality. They are experimental.
The context of the film speaks to this form of human empathy within a cinematic framework, crafted by a director who attempted to compose his entire cinematic history through an individual project that, despite years of anticipation, failed to secure the necessary funding. Consequently, he decided to take on the role himself, alongside a girl and a friend, within the confines of his own home, utilizing a dilapidated camera.
Priso, a director who is madly devoted to his artistic world and philosophy, is incredibly captivating in this film.
The narrative dialogues vividly illustrate the fragility of consciousness at times and its strength at other times, as well as the formation of human desires that drive individuals towards belief despite their lack of faith.
It is a profound philosophical exploration within an era where films of this nature are no longer afforded genuine presence.
It is a film about the isolation of individuals when they engage in creative thinking, regardless of the closed boundaries of their creativity and its intersection with a domain that is not their own, as exemplified by the living element of the film itself. The presence of Priso as an actor allows him to fully acknowledge that he is not an actor and does not fulfill the expectations placed upon him. It is the very idea that the film presents through the measurements of conceptual models it showcases.
This is a film that is not easily embraced, simply because it does not conform to the conventional requirements of mainstream cinema within the context of postmodernism and digital systems.
