Quite a bad piece, the end note is ironic: the author doesn’t seem to be paying a lot of attention for a film critic apparently interested in litteralicity.
> An earlier version of this article incorrectly described the ending of “A Complete Unknown.”
I cannot see any common denominator in the multiple examples that the author gives and cannot relate to them (what point is there to put on an equal footing a micro analysis of a dialogue in Megalopolis -voluntarily grotesque- and the choice of film format in The Architect?).
Maybe there’s an intuition here, but I feel it is not well illustrated. The author probably hopes that she will be remembered for coining this wishy washy concept.
> An earlier version of this article incorrectly described the ending of “A Complete Unknown.”
I cannot see any common denominator in the multiple examples that the author gives and cannot relate to them (what point is there to put on an equal footing a micro analysis of a dialogue in Megalopolis -voluntarily grotesque- and the choice of film format in The Architect?).
Maybe there’s an intuition here, but I feel it is not well illustrated. The author probably hopes that she will be remembered for coining this wishy washy concept.