No artist has ethical sympathies. An ethical sympathy in an artist is an unpardonable mannerism of style. …. Vice and virtue are to the artist materials for an art. - Oscar Wilde (Preface to ‘The Picture of Dorian Gray’)
This film is a hit or miss.
One ought not to talk about its sequences, references, camera, sound and what not, on even terms without addressing the elephant in the room – the complete abandonment midway of what the central character was thus far. The film’s “descent” into the absurd, the farcical shift in tone – can make or break the film. It cannot be talked of as a minor point, say a mild niggle and shift over to appreciating some nuances in the film-making.
You either buy it as a deliberate choice of an artist or a facetious irresponsibility of an amateur, who is learning the ropes. And all evidence of the so-called ‘new wave’ of young filmmakers do urge one to side with the latter. However, I think there is reason enough to believe this is a case of the former. And just that opens up a whole new avenue of reading what the film was trying to do.
Thus, what follows may thus be an indulgent over-reading. You have been warned: