The first Roy Anderson feature film. Not to mention the over-emphasized compassion, absurdity, black humor, and Nordic air-conditioning, these are all about the endless externalization performance, but they are also the fog that cannot be removed from looking forward and the haze that cannot be seen through the back on the way to explore the endless meaning. . It should be mentioned that the arbitrary combination of all kinds of wonderful materials seems to be piecing together, but the arrangement is quite intentional: those with delicate female voices are substituting perspectives, listening to the third party (female voice) to talk about the second party (performer) Condensed and summarized, cold jokes flowed coldly, and the audience gradually fell into the endless "I saw one...". The one without the female voice is to withdraw from the perspective, everything is immersed in endless joys and sorrows, and the outstanding eyes of those tall and stalwart are just quietly projected there, the audience is like a god who is exalted, sympathetically exploring the loss of faith. madness. Magical as the ultimate point of view, the wandering spirit on the vast ruins is placed in the middle, and the progress bar can be said to be the positive direction of endless reincarnation. In the cold banter and desperate speech of repeated consumption, the endless meaning has long surpassed the life situation. The reference system, entering a high-dimensional superbody that cannot be understood by a two-dimensional picture, but unfolding in two dimensions like a tomb, this is illusory to say it sounds good, and it is false to say it is ugly, and the intersection of the two is nothing more than nothingness!
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