Context change The audience is the central character of this movie. Because it decides what the film is about and what the authors want to say. In this sense, the film becomes a mystery, which the viewer solves.
It’s a film about the whole person and about human responsibility and understanding, of which I have no doubt. The absurdity that tightly covers every scene seems to be necessary to show Man from the outside, and this is very difficult, because, as Aristotle pointed out, “everything we know about the world is man,” and we look at man through the eyes of man. Someone, either in reviews or somewhere else, said that in this film scenes are like enclosures in the zoo. I think that Roy Andersson even managed to show a person not in the enclosures of situations, but even more in his natural habitat.
It may not be possible to cover all types of people, and not all types of situations, but it does not matter, because perhaps the most important issue is the question of human responsibility towards one’s own life, towards other people, raised in a wonderful way in the film. The film says, “Omnia is homo.” And no matter how much we try to convince ourselves that we are not so pathetic, we are proud, we are not so nasty, we are good – the essence of the human manifests itself in an extremely diverse way.
The scene with a giant drum (not to say what the drum is), after which one of the characters shouts “can you use people for your own pleasure!” He cries this, perhaps, in a fit of a sense of responsibility for all people or in a rush of some unexpected understanding of the essence of many things.
In one of the storylines, historical times are even tightly mixed - the use of "context change" is needed to reduce the strength of the viewer's prejudices in relation to various situations, and increase surprise, because, as one of the philosophers said, surprise creates a person's involvement in the situation. Or the person is surprised, but denies.
As a result, we get this difference of opinion about the film – some say “Well, this is nonsense, boring crap”, and others say that they almost saw the very essence of a human being in the film.
In addition, I would like to note the excellent work of the artist Julia Tegström and the operators - Gergei Paloš and Istvan Borbáš.
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