Sometimes there will be an asinine argument about whether or not popular entertainment can be artistically authentic anymore, either formally or aesthetically. Children of Men succeeds at all of that, primarily because every single thing about it is emotional. The way it is shot (beautifully immersive), the focus on and perspective of Theo (empathic) and the story that is told (inviting to an ethics dialogue).

Made me think seriously about the mystery of the kidnapping, which is something that very rarely occurs so naturally. High and Low doesn't take the usual path at all though. I feel like it slowly ascends into dealing with the reasons why we attempt to create understanding of the unknown. As opposed to the ersatz belief in actually having figured out what is unknown; something that never carries the same amount of amazement.. it has to leave something out.

The idea that this movie could be a sitcom (if some of the cruder elements were removed) is highly amusing to me. The solipsism is mind numbing.. it's sort of like No Exit but the individuals are willful participants or occupants in their realities, and that makes all the satire so much more maddening for the viewer.

I'm in love with the infinite tracking shot along the ends of the checkout belts at a supermarket.. to me it evokes unintentional meanings that Godard & Gorin were not expressly discussing, but possibilities they were surely aware of. Which, I understand, is a meaningful expression itself for the Dziga Vertov Group.