A beautiful and poetic summation of the original series. We live and maneuver only within the bounds of the effects of our own fantasy bygone. The Enterprise encounters in the Voyager II a contradiction within its own scaffolding. At the time of this film's release, the space probe would have just been launched. It shows up in the 'future' (which is the name for a mythology of the present in the age of secular storytelling) as the root of the…
You've heard of the fly-on-the-wall approach, this is fly-in-the-soup documentation. The soup of the present into which Louis has thrown himself is already the realization of the past reaping that this nostalgia wishes to sow, and so is the obstacle to its own endeavor because this present is already the foretold concretized. No germination emerges from the vegetable soup that is poured onto fertile ground. These are the sinners whose ironic punishment is that they must carry around the signs which tell the truth of themselves to anyone but themselves. Louis is accidentally Dante.
Maci, a hired escort: It's kinda weird having cameras around, right?
Nathan Fielder: We could turn them off if you want.
M: laughs Could we?
NF: Do you want to?
M: Does that defeat the purpose?
NF: What's the purpose?
M: You're filming something. It's kinda the purpose, right?
...
NF: We do have this drone. It'd be cool to get a drone shot, maybe.
Nathan Fielder's just fucking brilliant TV show has always been built around the unity of…
We all know that Cinema is merely an illusion of motion through a rapid succession of still images. Toshio Matsumoto sees the edges of this illusion not as a barrier, but as an easily crossed threshold between reality and reality-adjacent. In other words, the minimum frame rate required to replicate a moving image of reality is not a requirement in itself for cinema to reside in. He makes the viewer painfully aware that a cinematographic image that moves across the…
