10-03-2018, 10:18 PM
(This post was last modified: 08-19-2019, 03:24 PM by Dekalb_Blues.)
~
The Nature of Daylight (2018)
Featuring actress Elisabeth Moss (of Mad Men and The Handmaid's Tale renown), who also was a producer of it.
A nameless Woman, (almost) alone late at night in a bleak public eatery in some big city, has perhaps just finished a cellphone conversation.
(If so, what has been said and heard? [font=Roboto, Arial, sans-serif]What is its import? Is it about her private life, or her professional life? Or both? [/font]Is she a civilian,
or is she an espionage agent?)
Or has it been a crucially important call she's attempted that has significantly gone unanswered?
Or a crucially important call she's received that has significantly been cut off?
Or . . .
In any case, it [font=Roboto, Arial, sans-serif]seems to have affected her profoundly.[/font]
[font=Roboto, Arial, sans-serif]She walks and walks, to the end of the night, and into the first light of a strange new world that has somehow come into being f[/font]or her.
Can yesterday's self carry-over unaltered into today's world, or must there be an essential break in continuity, however challenging?
Without a word being spoken throughout by the character, through just her demeanour -- and guided by the film's viscerally poignant
music -- we must strive to empathically understand the true dimensions of just what it could possibly be that she is coming to terms
with, and whether we ourselves are in fact dwellers in her now-changed world or not . . .
. . . or is this an allegorical dramatization of the human dying process, the final Dark Night Of The Soul in the Hero's Journey?
In the opening scene, an enigmatically intense man softly strokes the head of a small bird he has enfolded gently but firmly in his Earth-begrimed hand --
birds, of course, have from ancient times been considered to be symbolic of the human soul . . .
The Woman's crisis comes when she is suddenly faced with an ascending flight of stairs which she evidently must take to get to her destination . . .
"Everything that’s important goes on in the darkness, no doubt about it. We never know anyone’s real inside story."
"That is perhaps what we seek throughout life, that and nothing more, the greatest possible sorrow so as to become
fully ourselves before dying."
" 'Chin up, Ferdinand,' I kept saying to myself, to keep up my courage. 'What with being chucked out of everywhere,
you're sure to find whatever it is that scares all those bastards so. It must be at the end of the night, and that's why
they're so dead set against going to the end of the night.' "
― Louis-Ferdinand Céline, Journey to the End of the Night (1932)
https://en.wikipedia.org/wiki/Journey_to..._the_Night
My heart is a student:
it studies Love,
And, like the night,
waits at the gate of dawn.
Where I go,
I follow where Love's face leads --
Because oil flows
to the flame that it feeds.
-- Rumi (13th c.)
https://en.wikipedia.org/wiki/The_Blue_Notebooks
![[Image: Winged-Sun.jpg]](http://egyptian-gods.org/wp-content/uploads/2010/05/Winged-Sun.jpg)
The Nature of Daylight (2018)
Featuring actress Elisabeth Moss (of Mad Men and The Handmaid's Tale renown), who also was a producer of it.
A nameless Woman, (almost) alone late at night in a bleak public eatery in some big city, has perhaps just finished a cellphone conversation.
(If so, what has been said and heard? [font=Roboto, Arial, sans-serif]What is its import? Is it about her private life, or her professional life? Or both? [/font]Is she a civilian,
or is she an espionage agent?)
Or has it been a crucially important call she's attempted that has significantly gone unanswered?
Or a crucially important call she's received that has significantly been cut off?
Or . . .
In any case, it [font=Roboto, Arial, sans-serif]seems to have affected her profoundly.[/font]
[font=Roboto, Arial, sans-serif]She walks and walks, to the end of the night, and into the first light of a strange new world that has somehow come into being f[/font]or her.
Can yesterday's self carry-over unaltered into today's world, or must there be an essential break in continuity, however challenging?
Without a word being spoken throughout by the character, through just her demeanour -- and guided by the film's viscerally poignant
music -- we must strive to empathically understand the true dimensions of just what it could possibly be that she is coming to terms
with, and whether we ourselves are in fact dwellers in her now-changed world or not . . .
. . . or is this an allegorical dramatization of the human dying process, the final Dark Night Of The Soul in the Hero's Journey?
In the opening scene, an enigmatically intense man softly strokes the head of a small bird he has enfolded gently but firmly in his Earth-begrimed hand --
birds, of course, have from ancient times been considered to be symbolic of the human soul . . .
The Woman's crisis comes when she is suddenly faced with an ascending flight of stairs which she evidently must take to get to her destination . . .
"Everything that’s important goes on in the darkness, no doubt about it. We never know anyone’s real inside story."
"That is perhaps what we seek throughout life, that and nothing more, the greatest possible sorrow so as to become
fully ourselves before dying."
" 'Chin up, Ferdinand,' I kept saying to myself, to keep up my courage. 'What with being chucked out of everywhere,
you're sure to find whatever it is that scares all those bastards so. It must be at the end of the night, and that's why
they're so dead set against going to the end of the night.' "
― Louis-Ferdinand Céline, Journey to the End of the Night (1932)
https://en.wikipedia.org/wiki/Journey_to..._the_Night
My heart is a student:
it studies Love,
And, like the night,
waits at the gate of dawn.
Where I go,
I follow where Love's face leads --
Because oil flows
to the flame that it feeds.
-- Rumi (13th c.)
https://en.wikipedia.org/wiki/The_Blue_Notebooks