"I'm thinking of ending things" she says, and starts her narrative. She is lonely and feels stuck in one place, looking for a way to atone for her sins. She is tired of all the things that have happened to her But, is this 'she,' actually her? This is the confusion that Kauffman narrates the story with.
At first, the movie does not just introduce only its characters or the storyline, but the whole crew involved through the credits roll, and I feel that requires a special mention. With minimal font size and the soft, purring nature with which it unfolds itself, both the title card and the end credit roll produce a special effect. An effect that draws you into the movie, eventually making you ponder over it.
As the character gets into the car and even while driving, all that the character stares at are the straight lines of wires against the vast sky. 'Relationship' is the topic spoken about, and shards of glasses are 'committed' onto the frame. It can be inferred that the character is philosophic in a surrealistic manner and desperately wants to escape from reality to the extent of not answering calls from her own personas.
"Loneliness has followed me everywhere", says the type of character who intends to meet the likes of ‘Travis Bickle’ from Taxi Driver, ‘Isak Borg’ from Wild Strawberries or ‘Kane’ from Citizen Kane. The movie's opening scene itself redirects you to the Director's most famous release, "Eternal Sunshine of the Spotless Mind." But despite that being said, this one has its own genre attached to it. Falling into a surrealistic drama, the whole universe of it is construed in the protagonist's minds. It is presented in the way one's mind functions. Although this is about a character, it follows a pattern. As our dreams appear distorted, so does this movie. With references to incorporated Freudian theories, the core of this movie endeavors a collection of repertories.
This may seem a little far-fetched to follow, but one needs to watch every bit to understand and appreciate the movie. The first twenty-odd minutes of the film and the dialogues exchanged are enough to make you understand the thoughts and efforts behind it. The extrapolation of various characters, entering into an individual's psyche or exploring other worldly topics is evidence of some serious writing.
What appears to be a travel drama at first, is not not what it seems to be. Instead, it is all about walking down the lane of memories one has acquired in his lifetime. There is a snowstorm approaching; you may want to stay for long, but you need to get going. And finally, after all the distance traveled when you wish to look back, you eventually realize the things you have missed out on, all the sins you have committed and wish had been unexplored. And now, he must rely on Isiah 1:18 quoting, "Though your sins are like scarlet, they shall be white as snow;"
Exploring more on the shifts, this movie has handled one of the best protagonist-changers, toying with the individual's perspective. What starts to be the narrative of one shifts gear into another, and even the tiniest of sense is made possible only after the movie ends. With various themes presented, be it the factor of age or resonance of the moment one is living in, the desires of appearances wished for, or the love that binds it all, incoherence is attached to the presentation in a positive sense. Even the ice-cream which they find exciting to have, despite all the weather conditions, does not make sense once they get it. They no longer relish it once they have it. The way this all comes together and explodes puts you in awe of the sheer brilliance of the whole craft behind it.
And in the end, he realizes it all. Prosthetics cover the faces of the individuals who hail his victory. He stands atop, delivering his speech and looks at her. She joins her hands to applaud, joining his life. It is all that he wishes to have happened to him.
