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It could be said that a trope of the modern art-house filmmaker is to merely hint at profundity. Indeed, intellectualism in cinema is often marked by a vague impressionism, where less is more. In other words, the less dialogue or discourse a writer/director provides, the more a piece says. Showing someone languidly puttering around a room, ho-humming as they go, can be a good stand-in for the profundity of an existential dilemma; despite the fact one hasn’t been lucidly articulated. Perhaps this is fair. After all, cinema was first and foremost a . . .

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