WEBVTT
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I need to know why my wife was killed. There's
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more tapes for your collection. I understand
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Sergeant Franks has informed you that we've come
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up with some new information relevant to your
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wife's death. Yes, sir. Have you and your wife
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ever been political activists? Hey, I just watched
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Fear X by Nicholas Winding Griffin, and I liked
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it. I feel like I should have seen it a long
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time ago, maybe even before Drive. I feel like
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it was probably perfect for me to watch it maybe
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after, let's say, Valhalla Rising, maybe. But
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I overall liked it. I probably liked it more
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now. Then I might have liked it if I saw it when
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it first came out, if that makes any sense. It's
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just it's kind of like it's kind of hard to describe,
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but it's just basically in like one sentence.
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It's a dreadful discussion on the propagation
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of violence. We know violence simmers, it swells,
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it explodes, it retreats, but it never goes away.
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Even if it's not primarily a part of your life.
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John Turturro is in it. He's very good in his
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movie. He plays a man named Harry Crane. He's
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obsessed with finding out who killed his pregnant
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wife, Claire. And in most directors hands, I
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shouldn't say most, maybe some directors hands.
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This would be a straightforward vengeance thriller
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where it mostly steeps itself into suspense as
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the investigation progresses. Until it caps off
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with like a thrilling, maybe violent climax.
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But it doesn't. And I don't think it's supposed
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to. Winding Griffin is best known for 2011's
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Drive. I think a lot of people can recognize
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Drive, even if you don't know who that director
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is. At least for U .S. audiences. I watched almost
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all of his films. So maybe it's only interesting
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to me that Fear X. With director's bloody reputation
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in the back of my mind, it doesn't create it
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doesn't have that creative gore or that squiby
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blood splatter of only God forgives, for example,
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or too old to die young, which was on Amazon.
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Fear X feels a little bit more meditative, more
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purposeful than his other films. It feels like
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the director is kind of talking to himself like
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I'm doing now, basically. About why do I commit
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violence to film? Why are people obsessed with
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violence? What if a person that isn't violent
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is exposed to it? What if it consumes them? And
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it's interesting because some of my favorite
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director outings is when you can tell there's
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an internal dialogue happening between two sides
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of the creative mind. There's the active and
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then there's the reactive, the side that wants
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to create. And there's the side that asks questions
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about the means and the ends to create. And when
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you watch John Turturro's character float from
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one scene to the next, he's in this pool of grief
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and sorrow. He's observing a lot. He's scanning
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surveillance tapes of Claire's death. He's pouring
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over hours of footage of the shopping mall where
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she was murdered. He's having visions about the
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house across the street from him. He is doing
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a lot of observing and thinking and meditating
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on that violence that visited him and affected
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his life. So a part of me thinks that Griffin
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is asking himself and maybe the viewer, just
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how much does it take for you to be driven to
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violence? Is it the death of a loved one? Is
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it a grand honorable mission to clean the world
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of corrupt cops? Who knows? And that kind of
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brings me to James Remar as Peter. He's a man
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who is besieged with guilt. I mean, the way that
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he plays this role, you can tell that he is bothered.
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He is haunted with guilt about killing Claire.
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And that is up until we actually meet Peter.
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He's like this menacing blur in photos and newspaper
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clippings that that our main character, Harry,
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is pouring through in his investigation. He is
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flickering in surveillance tape footage as he
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murders a woman. But then we see him up close.
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We see that he's a family man. He has a child.
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He has a wife. He is also similarly floating
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from space to space. He's trying to make sense
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of the world as he is an assassin in a secret
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police agency that kills corrupt officers in
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the US. As a side note, I think this is Winding
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Refn's first US movie. I did not know this until
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I watched it today. I always thought Drive was
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his first US film. So it's really interesting
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to kind of look at that. from that perspective
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um it's set in i think it's partially set in
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montana it's more like the plains area like in
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the central west coast northern west coast so
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it kind of gives this little bit of like a desolate
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you know imagery um a lot of isolation and stuff
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there but aside from that um peter as james remar
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plays him He's kind of questioning his values
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and his occupation. He's haunted by this murder
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he's committed because up to that time, you're
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supposed to believe that all of these murders
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were justified because they are trying to cleanse,
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you know, the country of corruption and law and
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order and law enforcement. And maybe that is
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also, I don't know, maybe a discussion on modern.
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day policing or at least policing in the 2000s.
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There have been some commentary after I watched
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this movie. I, you know, was thinking about this
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a lot and I decided to kind of look up other
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people's view of the movie. And a lot of people
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thought that this was about 9 -11. But in fact,
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Winding Griffin actually. wrote this before 9
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-11 so i think it was like a lot of people and
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it happens you know especially considering you
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know what 9 -11 did to our brains we sort of
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retroactively fit a lot of those you know a lot
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of things about uh film uh we like to retroactively
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make it up about 9 -11 especially when it was
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made within that time period um but it's not
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about that i don't think at least i mean Refn
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actually did confirm that it wasn't about 9 -11.
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So anyway, James Remar's character, Peter, he's
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questioning his values. He's haunted. And when
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Peter's wife, Kate, confronts him about it, he's
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compelled to face the man that's looking for
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closure. So this movie offers very little dialogue
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and it sort of pieces together a small puzzle
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for you to. Form for yourself. There's a conversation
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that he's having with the viewer. Winding Riffin
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is. And he's having that conversation with the
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viewer and the two parts of the creative mind.
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Like, can you imagine being thrust into a violent
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situation? A grand conspiracy with no answers,
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no conclusions, no fulfillment, no closure. How
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does a gentle and lonely man like Harry process
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guilt and anger? How does a quote unquote law
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abiding man, a man who is supposed to be, you
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know, on the side of the law, how does he? How
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does he process the fact that he killed an innocent
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woman? And there is a really good conversation
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in the middle of this movie. I don't want to
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get too much into spoilers. I think you should
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watch it for himself. But there is a discussion
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between law enforcement officers about law and
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order and exactly what is needed in order to
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maintain it. And I think that does say something
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about about Peter as a character or at least
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the world that he is thrust into. And I would
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imagine that, you know, being that sort of person,
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if you are gentle or if you are a stern lawman,
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I imagine that having that relationship with
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violence be sort of turned on its head or introduced
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to you, it feels like a sinking stone. You feel
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like a stone sinking in a lake, like it's all
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encompassing and you can't find a way out of
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it. So anyway, reference direction here is more
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drive than it is pusher or bleeder. If you ever
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watch those movies or even only God forgives,
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I sometimes when I talk about him as a director,
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I'm a little frustrated because I like him. But
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there's a lot about it that I just can't like
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only God forgives seems cool in concept. But
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once you actually watch it, you get really frustrated
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with him as a filmmaker. Same thing goes for,
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you know, let's say the Amazon series. uh too
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old to die young is a little bit of that as well
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even though i'm a little bit more forgiving with
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that series the second time around uh since i
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rewatched it but anyway um if you're not familiar
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with his work he uses a lot of absence of space
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dialogue and even feels like an absence of time
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um he almost uses it as a weapon you know um
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it feels oppressive in a lot of cases like it
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works in the case of drive and in others it feels
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insubstantial or too vague to process outside
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of it just being an aesthetic you know especially
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in a case of only god forgives or the neon demon
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things like that something that i would like
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to re -watch by the way uh the neon demon um
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but you'll be wrapped either way like when you've
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watched fear x you'll notice some great soundscape
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work um and i was very impressed by it and realized
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at the end that it's brian eno that was doing
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the uh The music and the acting is really good.
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I think a lot of people sort of give Wayne Griffin
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a little bit of shit about some of his lack of
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dialogue, especially in Drive. It's a little
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bit of a running gag among some viewers who actually
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love the movie, but they still like to make fun
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of it because of that. But I think it pretty
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much fits that that mold, if you would like to
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watch it. But it does sort of fit. um within
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that theme of isolation and sort of like percolating
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violence and just that oppressive sort of like
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feeling of being changed from within there's
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a a few points uh in this movie where you will
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see a lot of the influences um david lynch um
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i always forget how to pronounce his name uh
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stan breakage i think that's how you breakage
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if i'm not mistaken Um, he was a videographer
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who did a lot of, I don't know how you can call
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it. Maybe I don't just like a lot of flashing
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images. I've watched a couple of this things
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before and I really liked it. Um, but you can
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tell that, you know, there was a lot of that
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influence. Um, I won't talk like an expert of
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it, of him, but, um, you can see that influence.
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a little bit of coen brothers a lot of hitchcock
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is in this um there's this din of paranoia thriller
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like 70s paranoia thriller but it's not it's
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not like three days at a condor or uh or anything
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like or it's not the parallax view it's more
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like blow up or the conversation so if you're
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looking for something that's more deliberately
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paced uh with a lot of ambiguity and you want
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to discuss it with a friend or two i highly recommend
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it so i would yeah Go watch it. Before I end
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this, I do want to talk about the end credits.
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If you do watch the end credits, if you stick
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behind and watch through the credits, you'll
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be treated to like this reassembled. And I think
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it's chronological staging of that, like, you
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know, that surveillance footage, just like monochrome
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and low resolution. And it's what the main character,
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Harry, collects throughout the movie. I don't.
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think it strictly recontextualizes harry's motivations
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but it does feel like one of those dialogues
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that reefer wanted us to take part in so i won't
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get too much into details but it does bear a
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mention and um i think you should you know definitely
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take that into um into some sort of consideration
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when you do watch it so um like i said i highly
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recommend it um it's not for everybody but i
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think you should sit down and watch it Thanks
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for listening. Bye -bye.
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I need to know why my wife was killed. There's
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more tapes for your collection. I understand
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Sergeant Franks has informed you that we've come
00:00:27.910 --> 00:00:29.730
up with some new information relevant to your
00:00:29.730 --> 00:00:33.229
wife's death. Yes, sir. Have you and your wife
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ever been political activists? Hey, I just watched
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Fear X by Nicholas Winding Griffin, and I liked
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it. I feel like I should have seen it a long
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time ago, maybe even before Drive. I feel like
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it was probably perfect for me to watch it maybe
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after, let's say, Valhalla Rising, maybe. But
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I overall liked it. I probably liked it more
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now. Then I might have liked it if I saw it when
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it first came out, if that makes any sense. It's
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just it's kind of like it's kind of hard to describe,
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but it's just basically in like one sentence.
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It's a dreadful discussion on the propagation
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of violence. We know violence simmers, it swells,
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it explodes, it retreats, but it never goes away.
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Even if it's not primarily a part of your life.
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John Turturro is in it. He's very good in his
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movie. He plays a man named Harry Crane. He's
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obsessed with finding out who killed his pregnant
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wife, Claire. And in most directors hands, I
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shouldn't say most, maybe some directors hands.
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This would be a straightforward vengeance thriller
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where it mostly steeps itself into suspense as
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the investigation progresses. Until it caps off
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with like a thrilling, maybe violent climax.
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But it doesn't. And I don't think it's supposed
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to. Winding Griffin is best known for 2011's
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Drive. I think a lot of people can recognize
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Drive, even if you don't know who that director
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is. At least for U .S. audiences. I watched almost
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all of his films. So maybe it's only interesting
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to me that Fear X. With director's bloody reputation
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in the back of my mind, it doesn't create it
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doesn't have that creative gore or that squiby
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blood splatter of only God forgives, for example,
00:02:44.750 --> 00:02:48.610
or too old to die young, which was on Amazon.
00:02:50.990 --> 00:02:54.229
Fear X feels a little bit more meditative, more
00:02:54.229 --> 00:02:57.050
purposeful than his other films. It feels like
00:02:57.050 --> 00:02:59.229
the director is kind of talking to himself like
00:02:59.229 --> 00:03:03.210
I'm doing now, basically. About why do I commit
00:03:03.210 --> 00:03:06.250
violence to film? Why are people obsessed with
00:03:06.250 --> 00:03:09.110
violence? What if a person that isn't violent
00:03:09.110 --> 00:03:14.990
is exposed to it? What if it consumes them? And
00:03:14.990 --> 00:03:18.310
it's interesting because some of my favorite
00:03:18.310 --> 00:03:20.889
director outings is when you can tell there's
00:03:20.889 --> 00:03:23.330
an internal dialogue happening between two sides
00:03:23.330 --> 00:03:26.129
of the creative mind. There's the active and
00:03:26.129 --> 00:03:28.289
then there's the reactive, the side that wants
00:03:28.289 --> 00:03:32.240
to create. And there's the side that asks questions
00:03:32.240 --> 00:03:36.060
about the means and the ends to create. And when
00:03:36.060 --> 00:03:39.620
you watch John Turturro's character float from
00:03:39.620 --> 00:03:44.020
one scene to the next, he's in this pool of grief
00:03:44.020 --> 00:03:47.580
and sorrow. He's observing a lot. He's scanning
00:03:47.580 --> 00:03:51.719
surveillance tapes of Claire's death. He's pouring
00:03:51.719 --> 00:03:54.300
over hours of footage of the shopping mall where
00:03:54.300 --> 00:03:57.060
she was murdered. He's having visions about the
00:03:57.060 --> 00:03:59.919
house across the street from him. He is doing
00:03:59.919 --> 00:04:04.400
a lot of observing and thinking and meditating
00:04:04.400 --> 00:04:09.240
on that violence that visited him and affected
00:04:09.240 --> 00:04:13.280
his life. So a part of me thinks that Griffin
00:04:13.280 --> 00:04:16.540
is asking himself and maybe the viewer, just
00:04:16.540 --> 00:04:19.259
how much does it take for you to be driven to
00:04:19.259 --> 00:04:22.220
violence? Is it the death of a loved one? Is
00:04:22.220 --> 00:04:25.420
it a grand honorable mission to clean the world
00:04:25.420 --> 00:04:30.699
of corrupt cops? Who knows? And that kind of
00:04:30.699 --> 00:04:34.899
brings me to James Remar as Peter. He's a man
00:04:34.899 --> 00:04:38.800
who is besieged with guilt. I mean, the way that
00:04:38.800 --> 00:04:43.560
he plays this role, you can tell that he is bothered.
00:04:43.639 --> 00:04:48.339
He is haunted with guilt about killing Claire.
00:04:49.439 --> 00:04:52.139
And that is up until we actually meet Peter.
00:04:52.300 --> 00:04:57.740
He's like this menacing blur in photos and newspaper
00:04:57.740 --> 00:05:03.639
clippings that that our main character, Harry,
00:05:03.879 --> 00:05:09.300
is pouring through in his investigation. He is
00:05:09.300 --> 00:05:12.279
flickering in surveillance tape footage as he
00:05:12.279 --> 00:05:14.879
murders a woman. But then we see him up close.
00:05:14.939 --> 00:05:17.180
We see that he's a family man. He has a child.
00:05:17.279 --> 00:05:21.230
He has a wife. He is also similarly floating
00:05:21.230 --> 00:05:23.370
from space to space. He's trying to make sense
00:05:23.370 --> 00:05:26.990
of the world as he is an assassin in a secret
00:05:26.990 --> 00:05:29.610
police agency that kills corrupt officers in
00:05:29.610 --> 00:05:34.449
the US. As a side note, I think this is Winding
00:05:34.449 --> 00:05:39.430
Refn's first US movie. I did not know this until
00:05:39.430 --> 00:05:42.910
I watched it today. I always thought Drive was
00:05:42.910 --> 00:05:46.449
his first US film. So it's really interesting
00:05:46.449 --> 00:05:48.699
to kind of look at that. from that perspective
00:05:48.699 --> 00:05:53.120
um it's set in i think it's partially set in
00:05:53.120 --> 00:05:56.339
montana it's more like the plains area like in
00:05:56.339 --> 00:05:59.879
the central west coast northern west coast so
00:05:59.879 --> 00:06:02.120
it kind of gives this little bit of like a desolate
00:06:02.120 --> 00:06:06.459
you know imagery um a lot of isolation and stuff
00:06:06.459 --> 00:06:12.899
there but aside from that um peter as james remar
00:06:12.899 --> 00:06:16.040
plays him He's kind of questioning his values
00:06:16.040 --> 00:06:19.160
and his occupation. He's haunted by this murder
00:06:19.160 --> 00:06:22.339
he's committed because up to that time, you're
00:06:22.339 --> 00:06:24.560
supposed to believe that all of these murders
00:06:24.560 --> 00:06:29.040
were justified because they are trying to cleanse,
00:06:29.420 --> 00:06:32.879
you know, the country of corruption and law and
00:06:32.879 --> 00:06:35.620
order and law enforcement. And maybe that is
00:06:35.620 --> 00:06:40.180
also, I don't know, maybe a discussion on modern.
00:06:40.800 --> 00:06:43.939
day policing or at least policing in the 2000s.
00:06:45.019 --> 00:06:47.540
There have been some commentary after I watched
00:06:47.540 --> 00:06:50.060
this movie. I, you know, was thinking about this
00:06:50.060 --> 00:06:51.959
a lot and I decided to kind of look up other
00:06:51.959 --> 00:06:53.519
people's view of the movie. And a lot of people
00:06:53.519 --> 00:06:56.240
thought that this was about 9 -11. But in fact,
00:06:56.339 --> 00:07:01.209
Winding Griffin actually. wrote this before 9
00:07:01.209 --> 00:07:04.430
-11 so i think it was like a lot of people and
00:07:04.430 --> 00:07:07.009
it happens you know especially considering you
00:07:07.009 --> 00:07:09.850
know what 9 -11 did to our brains we sort of
00:07:09.850 --> 00:07:16.170
retroactively fit a lot of those you know a lot
00:07:16.170 --> 00:07:19.430
of things about uh film uh we like to retroactively
00:07:19.430 --> 00:07:21.850
make it up about 9 -11 especially when it was
00:07:21.850 --> 00:07:26.930
made within that time period um but it's not
00:07:26.930 --> 00:07:29.839
about that i don't think at least i mean Refn
00:07:29.839 --> 00:07:33.180
actually did confirm that it wasn't about 9 -11.
00:07:33.379 --> 00:07:39.120
So anyway, James Remar's character, Peter, he's
00:07:39.120 --> 00:07:42.779
questioning his values. He's haunted. And when
00:07:42.779 --> 00:07:45.819
Peter's wife, Kate, confronts him about it, he's
00:07:45.819 --> 00:07:47.420
compelled to face the man that's looking for
00:07:47.420 --> 00:07:52.720
closure. So this movie offers very little dialogue
00:07:52.720 --> 00:07:56.819
and it sort of pieces together a small puzzle
00:07:56.819 --> 00:08:00.329
for you to. Form for yourself. There's a conversation
00:08:00.329 --> 00:08:03.449
that he's having with the viewer. Winding Riffin
00:08:03.449 --> 00:08:08.670
is. And he's having that conversation with the
00:08:08.670 --> 00:08:11.750
viewer and the two parts of the creative mind.
00:08:11.870 --> 00:08:14.490
Like, can you imagine being thrust into a violent
00:08:14.490 --> 00:08:17.550
situation? A grand conspiracy with no answers,
00:08:17.569 --> 00:08:22.790
no conclusions, no fulfillment, no closure. How
00:08:22.790 --> 00:08:26.430
does a gentle and lonely man like Harry process
00:08:26.430 --> 00:08:30.649
guilt and anger? How does a quote unquote law
00:08:30.649 --> 00:08:34.509
abiding man, a man who is supposed to be, you
00:08:34.509 --> 00:08:38.549
know, on the side of the law, how does he? How
00:08:38.549 --> 00:08:42.149
does he process the fact that he killed an innocent
00:08:42.149 --> 00:08:44.210
woman? And there is a really good conversation
00:08:44.210 --> 00:08:46.090
in the middle of this movie. I don't want to
00:08:46.090 --> 00:08:47.629
get too much into spoilers. I think you should
00:08:47.629 --> 00:08:50.570
watch it for himself. But there is a discussion
00:08:50.570 --> 00:08:53.230
between law enforcement officers about law and
00:08:53.230 --> 00:08:56.009
order and exactly what is needed in order to
00:08:56.009 --> 00:08:58.610
maintain it. And I think that does say something
00:08:58.610 --> 00:09:02.830
about about Peter as a character or at least
00:09:02.830 --> 00:09:08.009
the world that he is thrust into. And I would
00:09:08.009 --> 00:09:10.350
imagine that, you know, being that sort of person,
00:09:10.409 --> 00:09:13.549
if you are gentle or if you are a stern lawman,
00:09:13.629 --> 00:09:17.809
I imagine that having that relationship with
00:09:17.809 --> 00:09:20.429
violence be sort of turned on its head or introduced
00:09:20.429 --> 00:09:23.309
to you, it feels like a sinking stone. You feel
00:09:23.309 --> 00:09:25.210
like a stone sinking in a lake, like it's all
00:09:25.210 --> 00:09:28.269
encompassing and you can't find a way out of
00:09:28.269 --> 00:09:32.470
it. So anyway, reference direction here is more
00:09:32.470 --> 00:09:36.090
drive than it is pusher or bleeder. If you ever
00:09:36.090 --> 00:09:38.730
watch those movies or even only God forgives,
00:09:38.769 --> 00:09:41.929
I sometimes when I talk about him as a director,
00:09:42.090 --> 00:09:44.789
I'm a little frustrated because I like him. But
00:09:44.789 --> 00:09:47.509
there's a lot about it that I just can't like
00:09:47.509 --> 00:09:51.470
only God forgives seems cool in concept. But
00:09:51.470 --> 00:09:54.850
once you actually watch it, you get really frustrated
00:09:54.850 --> 00:09:58.429
with him as a filmmaker. Same thing goes for,
00:09:58.470 --> 00:10:03.879
you know, let's say the Amazon series. uh too
00:10:03.879 --> 00:10:06.419
old to die young is a little bit of that as well
00:10:06.419 --> 00:10:08.779
even though i'm a little bit more forgiving with
00:10:08.779 --> 00:10:11.539
that series the second time around uh since i
00:10:11.539 --> 00:10:14.500
rewatched it but anyway um if you're not familiar
00:10:14.500 --> 00:10:16.899
with his work he uses a lot of absence of space
00:10:16.899 --> 00:10:20.500
dialogue and even feels like an absence of time
00:10:20.500 --> 00:10:24.259
um he almost uses it as a weapon you know um
00:10:24.259 --> 00:10:27.700
it feels oppressive in a lot of cases like it
00:10:27.700 --> 00:10:30.120
works in the case of drive and in others it feels
00:10:30.120 --> 00:10:34.200
insubstantial or too vague to process outside
00:10:34.200 --> 00:10:36.620
of it just being an aesthetic you know especially
00:10:36.620 --> 00:10:39.379
in a case of only god forgives or the neon demon
00:10:39.379 --> 00:10:41.539
things like that something that i would like
00:10:41.539 --> 00:10:44.899
to re -watch by the way uh the neon demon um
00:10:44.899 --> 00:10:47.539
but you'll be wrapped either way like when you've
00:10:47.539 --> 00:10:49.500
watched fear x you'll notice some great soundscape
00:10:49.500 --> 00:10:53.100
work um and i was very impressed by it and realized
00:10:53.100 --> 00:10:55.559
at the end that it's brian eno that was doing
00:10:55.559 --> 00:10:59.769
the uh The music and the acting is really good.
00:10:59.850 --> 00:11:04.169
I think a lot of people sort of give Wayne Griffin
00:11:04.169 --> 00:11:07.309
a little bit of shit about some of his lack of
00:11:07.309 --> 00:11:09.950
dialogue, especially in Drive. It's a little
00:11:09.950 --> 00:11:13.789
bit of a running gag among some viewers who actually
00:11:13.789 --> 00:11:16.210
love the movie, but they still like to make fun
00:11:16.210 --> 00:11:19.529
of it because of that. But I think it pretty
00:11:19.529 --> 00:11:22.350
much fits that that mold, if you would like to
00:11:22.350 --> 00:11:26.000
watch it. But it does sort of fit. um within
00:11:26.000 --> 00:11:29.080
that theme of isolation and sort of like percolating
00:11:29.080 --> 00:11:32.419
violence and just that oppressive sort of like
00:11:32.419 --> 00:11:36.399
feeling of being changed from within there's
00:11:36.399 --> 00:11:39.879
a a few points uh in this movie where you will
00:11:39.879 --> 00:11:43.860
see a lot of the influences um david lynch um
00:11:43.860 --> 00:11:47.019
i always forget how to pronounce his name uh
00:11:47.019 --> 00:11:49.559
stan breakage i think that's how you breakage
00:11:49.559 --> 00:11:53.899
if i'm not mistaken Um, he was a videographer
00:11:53.899 --> 00:11:56.980
who did a lot of, I don't know how you can call
00:11:56.980 --> 00:11:59.860
it. Maybe I don't just like a lot of flashing
00:11:59.860 --> 00:12:02.240
images. I've watched a couple of this things
00:12:02.240 --> 00:12:05.559
before and I really liked it. Um, but you can
00:12:05.559 --> 00:12:08.399
tell that, you know, there was a lot of that
00:12:08.399 --> 00:12:10.960
influence. Um, I won't talk like an expert of
00:12:10.960 --> 00:12:14.820
it, of him, but, um, you can see that influence.
00:12:15.720 --> 00:12:18.519
a little bit of coen brothers a lot of hitchcock
00:12:18.519 --> 00:12:21.899
is in this um there's this din of paranoia thriller
00:12:21.899 --> 00:12:26.059
like 70s paranoia thriller but it's not it's
00:12:26.059 --> 00:12:30.620
not like three days at a condor or uh or anything
00:12:30.620 --> 00:12:32.519
like or it's not the parallax view it's more
00:12:32.519 --> 00:12:35.899
like blow up or the conversation so if you're
00:12:35.899 --> 00:12:37.200
looking for something that's more deliberately
00:12:37.200 --> 00:12:40.720
paced uh with a lot of ambiguity and you want
00:12:40.720 --> 00:12:42.659
to discuss it with a friend or two i highly recommend
00:12:42.659 --> 00:12:47.179
it so i would yeah Go watch it. Before I end
00:12:47.179 --> 00:12:49.340
this, I do want to talk about the end credits.
00:12:49.440 --> 00:12:51.639
If you do watch the end credits, if you stick
00:12:51.639 --> 00:12:53.159
behind and watch through the credits, you'll
00:12:53.159 --> 00:12:56.259
be treated to like this reassembled. And I think
00:12:56.259 --> 00:12:59.080
it's chronological staging of that, like, you
00:12:59.080 --> 00:13:01.320
know, that surveillance footage, just like monochrome
00:13:01.320 --> 00:13:04.399
and low resolution. And it's what the main character,
00:13:04.480 --> 00:13:07.320
Harry, collects throughout the movie. I don't.
00:13:07.559 --> 00:13:10.120
think it strictly recontextualizes harry's motivations
00:13:10.120 --> 00:13:11.860
but it does feel like one of those dialogues
00:13:11.860 --> 00:13:15.039
that reefer wanted us to take part in so i won't
00:13:15.039 --> 00:13:17.019
get too much into details but it does bear a
00:13:17.019 --> 00:13:20.580
mention and um i think you should you know definitely
00:13:20.580 --> 00:13:24.000
take that into um into some sort of consideration
00:13:24.000 --> 00:13:28.200
when you do watch it so um like i said i highly
00:13:28.200 --> 00:13:31.100
recommend it um it's not for everybody but i
00:13:31.100 --> 00:13:33.980
think you should sit down and watch it Thanks
00:13:33.980 --> 00:13:35.919
for listening. Bye -bye.
