Fundamentally reshaped Iranian cinema as well as our relationship with the medium (the ontology of cinema); the Baudrillardian sense of the hyperreal, wherein the perceived boundary between illusion and the real collapses, leaving only simulation in its wake
這個(gè)敘事讓我想到sleep no more這種非上帝視角的表演但與之不同的是sleep no more作為現(xiàn)場戲劇的局限是無法提供每個(gè)場景的主觀視角敘事觀眾只是看到了不同的故事線而已但放在電視劇就可以做這樣的創(chuàng)新——同一個(gè)場景在不同角色的記憶或者認(rèn)知里有微妙差別