Part II builds on its predecessor in sophisticated ways. Hogg has said that the sequel can stand alone, and that may be true, but its almost noirish visual callbacks instill ghostly memories that, over time, transcend the ectoplasm of one person or film.
"As humans, we always want the fireworks. We want the show. But actually a volcano is always erupting. And, as is also true about cinema, the more you learn about the language of a director, the more you can appreciate the idiosyncrasies or the details."
New logistical work-arounds sought to overcome the difficulties of physically congregating; each decision about tone could trigger dozens of questions. Are the problems we are experiencing self-contained within the pandemic, or perennial?
"A radically new way to watch story and interact with story" conceals the true subversion out there.
This is a contemporary American hellscape, but if Chaplin and Tati were socially aloof within environments of cold modernity, O’Malley’s outcasts can barely communicate as they navigate a world corroded by mediation.
Carax envisions life as an endless state of unpredictable flux. We can’t help but transform depending on who we’re with and which spaces we enter, on-screen or off-. Taking escapism to its limit, it’s impossible to reconcile the “real” self with the “role.”