Zia does not want to wake up from his dream. Wristcutters is about reconciliation, and how our deepest projections of our own universe may elucidate our views on life.
#CINE TRACER WHATS FULL#
During such a quest – slow-paced and full of uncanny apparitions and people –, he starts feeling at home, much like when we are introduced to fond memories or desires during a deep sleep. Zia is looking for his girlfriend, who he finds out has committed suicide shortly after himself in the up there in the “real” world. Like in a dream, strong emotions are hard to come about, and when they come they cause utter astonishment. The lack of smiles is quickly compensated for by the calm countenances, the friendly glances of relief that usually precede a smile, but without the consolidation of the happy act. Zia’s new world is apathetic, filled with solitude and silence, but also with solemnity and innocence. He meets Eugene, an impetuous man in a never-ending quest to fix his car’s headlights. He “wakes up” in a surreal afterlife, where other suicidal individuals are, where nobody smiles, and where the logic of physics – very much like in dreams – is distorted. The protagonist Zia slits his wrists after a sequence portraying the boredom of his life in his messy bedroom. How would you react if you committed suicide and woke up in another world, much the same as the previous, but with the intensity of the little things of life glorified? Wristcutters: A Love Story has that odd a plot. Wristcutters: A Love Story (Goran Dukić, 2006) Its rendition of a veritable nightmare – probably the worst nightmare of many of us the loss of sensibility in its various forms – is serious and comedic at the same time, and easily convinces the spectator about the despair of living in a world without taste.ġ9.
While trying to excavate and reach the source of the song, he is stopped by the film’s “thought police” and carried away to be left in the middle of the cold desert again. He ultimately finds his salvation and his pleasure in listening to a distant melody deep within the foundations of an old building. Nobody on the street seems to notice the blood and bowels scattered about. He witnesses a man commit suicide by throwing himself out of a window and falling onto a spiked fence.
#CINE TRACER WHATS DRIVER#
He is welcomed by a driver who takes him to a strange city strange in its boredom, and strange in the apparent flamboyance and materialism of its inhabitants.Īndreas soon realises that the food has no taste, the drink does not inebriate, and the sex does not generate emotions. Andreas is an apathetic man who mysteriously arrives on a bus at a checkpoint shack in the middle of a cold, rocky desolation. Its bright lighting and dull colour palette converge well with its desire to represent a world of emptiness. This Norwegian production is an underground piece of uncanny qualities. Some of them envision dreams as the paradise of the psyche, others prefer to engage in the representations of nightmares, or suffocating experiences full of symbolisms and self-reflections. Many an art form has explored the theme, and cinema has done it in various versions and using various strategies. Yet we can hardly conceive anything close to many of them being a part of us. It is the state of consciousness in which one is separated from visions of the palpable world and closest to reflections of the unconscious.
Distorted universes and members of one’s life, sometimes added to old regrets and wishes, or simply the absurdity of an action that one would never imagine doing, but whose consolidation is quite realistic during the experience. One takes a physical rest from the world and from their fears and desires, only to encounter these same elements of existence in magnified or softened versions. Dreams are the sleeping routine for most of humanity.
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