too much kino! I cant take it!
what was malick trying to tell us with this scene?
>>70656844
He's making a remark on post-Kantian transcendental idealism. If I'm reading him correctly, his thesis is essentially that one cannot ascertain absolute objective truth -- the 'Real' he speaks of -- given the perceptive distortion of our sense data. He uses the poetic illustration of feet -- we must concede the notion that what we perceive to be material concreta in spatio-temporal location is merely a convincing construction courtesy of our neurological framework, just as the mouth is not the content it represents in-and-of-itself. Malick clearly is an empiricist of sorts, but goes as far as to deny knowledge even as solely a posteriori -- for Malick, there is no 'truth' to speak of.
>>70656844
>>70657540
>>70656577
>>70657540
You fucking idiot, it's obviously symbolism for Heideggerian implosion of the Dasein onto Rick's previously closed worldview and conception of reality. The idea of rootedness is important in Heidegger's philosophy and the feet represent the human element of this "root". The insertion of Hershlag's feet into Rick's mouth is seen as a deliberate, almost violent desecration of his micro-Dasein into the macrocosm of what Heidegger called "being in world". Later on we see that this relationship is doomed by yet more externalities (her being married and the fate of their accidental pregnancy), thus showing that such acts of rending open the personal Dasein are antithetical to a grounded worldview. The reception of the rootedness directly into the face, the Freudian subtext notwithstanding, thus acts as Malick's visual exegesis of his Heideggerian interpretation of the world.
>>70658291
Y-you too
one of the best films of the past decade
>Perhaps no film in the history of cinema follows the movement of memory as faithfully, as passionately, or as profoundly as Terrence Malick’s new film, “Knight of Cups.” It’s an instant classic in several genres—the confessional, the inside-Hollywood story, the Dantesque midlife-crisis drama, the religious quest, the romantic struggle, the sexual reverie, the family melodrama—because the protagonist’s life, like most people’s lives, involves intertwined strains of activity that don’t just overlap but are inseparable from each other. The movie runs less than two hours and its focus is intimate, but its span seems enormous—not least because Malick has made a character who’s something of an alter ego, and he endows that character with an artistic identity and imagination as vast and as vital as his own.
>As such, “Knight of Cups” is one of the great recent bursts of cinematic artistry, a carnival of images and sounds that have a sensual beauty, of light and movement, of gesture and inflection, rarely matched in any movie that isn’t Malick’s own. Here, he—and his cinematographer, Emmanuel Lubezki—surpass themselves. Where “The Tree of Life” is filled with memories, is even about memory, “Knight of Cups” is close to a first-person act of remembering, and the ecstatic power of its images and sounds is a virtual manifesto, and confession, of the cinematic mind at work.
Uhhhhh I thought the movie was just about how it's impossible to find satisfaction and happiness when the industry that runs what you're passionate about is soulless and empty.
>>70656577
Why is he upside down?
is the designer autistic ?
>>70658666
The industry is only a background, it's about Rick sleeping through life when he should be finding the pearl
>>70658611
>>70658805
oh no the jew is trying to convert the goyim!
>>70658840
what!?!?!?!
