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THE Match, a delicate proof that all equals nothing
Magnificent film brave enough to tackle the problem of human fragility in the face of death. A fascinating example of the game in the life of an individual who happens to discover that in order to have the quality of life there was only the way of the dedication to the conditioning of dead bodies for the farewell of friends and relatives before cremation.
An interesting essay of an individual's game of life in search of quality of life presented with beauty, delicacy, humor and love, suggesting that the life equals death and, conversely, the death equals life. Unique opportunity for the MJVI (mathematician of the game of the individual's life) to test his most fundamental hypotheses.
The Fundamental Axiom for MJVI admits that no exist creators and therefore, do not exist things because these would have to be created by a creator.
What are these things that appear to self-awareness of the individual? Are beings! What are they? They are exactly what they seem to be: beings that appear! They appear to self-awareness without preventing it from appearing. MJVI prefers to describe them as imaginationsproducts of psyche, this, in turn, informational matter, therefore, a mysterious type of energy, which incessantly imagine, including imagination of herself imagining.
With plenty of imaginations, there is nothing to stop the self-awareness of experiencing the exaggeration, the sick enchantment, the perverted fantasies, the hypothesis that if it's much more than you can and hence the consequent frustration, the despair of emptiness.
For MJVI, self-awareness is nothing more than this mysterious imagination that imagines a self-centered world of things. So self-awareness is for you, and not in itself! If Descartes said, "I think, therefore I am," then the MJVI would refute it by saying, "I wonder, so I just wonder." There is no reason for the MJVI to jump from I suppose to I exist. It is a leap over an unfathomable and unavoidable abyss. His reason for vehement refusal is based on his Fundamental Axiom.
Science has sought for centuries to essence of the thing and located it in particlesmost recently in ropes and multidimensional membranesbut when you tried them approach to observe your core he ran into the insurmountable difficulty of the Uncertainty Principle and Planck's unreachable length 10-35 m. Seeks for centuries the origin of life, or yours causebut for more progress you have done, you get lost in increasingly sophisticated, complicated and unobservable, and an exponentially higher number of new unknowns. The MJVI is not surprised because if the origin of life was observed, O observer would have the key to becoming a creator, which is impossible by the fundamental axiom.
It is not without reason that Daigo is lost as to what to do with the beginning of his life Adult Imagine that one life would be pleasure to play the cello earning money forever and all over the world. He soon discovers that this pleasure is illusory, as is his talent. There are many much better ones with the cello. Suddenly you realize that it is very difficult to live in an acceptable and pleasurable way. Resolves to return to his hometown to ward off personal bankruptcy and to reduce expenses, as revenue generation in large urban centers seems unfeasible.
The usual doubts, archetypal of all self-awareness, plague him. Who I am I? Why me feel so expressionless and unimportant? Where I must go? What I must do?
You accidentally find an opportunity to make good money as a packer of the dead. Most self-consciousness seems to be incapable of such a feat. The reason seems to be that they have no preparation, or interest, to face the problem of being of death and therefore of being of life, as will be gently demonstrated in this deep and delicate narration about the drama of human existence.
Daigo runs away from this standard, has no serious prejudice against the dead, although his smell and stomach need to adapt to the unpleasant odors of bodies decomposing humans. However, the beginning of adaptation is not easy, because your imagination about your own body, and about the others living bodies, goes into crisis, and needs to transform to be bearable. The desperate search for body Mika's suggestion attempts to nullify the new imagination of the possibility that her own body not different from that of the old woman in a rotten state with unbearable odor, being distinguished only for a certain period of time.
For MJVI, the matter mysteriously receives an incentive to to live translated into the famous Principle of Pleasure postulated by Freud. The true satisfaction of be alive, for Freud, can only be performed through the body. THE Match brilliantly addresses this fundamental problem of all self-awareness, what to do with your body. It is hard to imagine a more serious problem for self-awareness than this, because it is your deepest imagination about yourself, the ultimate basis of your security in the surprise or wonder of imagining yourself. alive. In accordance with the pleasure principle, life must be lived with satisfaction, which can only be ultimately body.
A mystery attracted part of the matter from the universe to lifebut had to beckon him with the possibility of imagine pleasures it's from satisfy them through the body. However, he could not teach him how. Self-awareness has to invent a way to do this. Much of the problem seems to be that although body be the means of satisfying the pleasures of individual life, it is very difficult to achieve without contact with a other body.
THE Match illustrates this fact well, the each other's body it is important even in the form of the deceased. The movie thrills because any self-awareness immediately recognizes itself in the body Daigo and sympathizes with his drama in the pursuit of quality of life. Moreover, any self-awareness is far from knowing what to do with your own body. First of all, a self-awareness wonders if should do something with him. Unable to answer, self-awareness nevertheless intends that his body is somehow fundamental to si.
Daigo's wife discovers that her husband cannot abandon the treatment of dead bodies to keep up alive and herself, to keep her living body it's the new body that grows within your, you have to accept the living with dead bodies that gave life to husband's body. He comes to realize with humility and tenderness that life and death are inseparable.
For MJVI, the suggestion is that the game of an individual's life has neither a winner nor a loser. Quality of life is achieved in proportion to the demystification of immodest charms, unthinking desires and fantasies, and transcendental hypotheses that disrespect and nullify the body. It was better if the bathroom wasn't even sold to the wealthy builder to build a monumental condominium. The son of the determined owner had to suffer the pain of the absence of those who seemed eternal to realize how much his unconscious love for her had given way to inhuman charms and fantasies.
An unforgettable film, one of those rare ones that justifies the importance of cinema.
For MJVI, there are four cinematographic works that can hardly be surpassed, at most equated, as examples of the reason why an individual should go to the movies, or as exciting illustrations of the individual's life game. The other three are Godfrey Reggio's trilogy with music by Philip Glass.
Koyaanisqatsi: Life out of Balance, 1982, Ron Fricke Cinematography, Powaqqatsi: Life in Transformation, 1988, Naqoyqatsi: Life as War, edited by Jon Kane. There are certainly some other movies that can be equated with these four in the above sense, but they are rare.
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