Well, you introduce spatial dust that exists in both worlds simultaneously. An example of how conscious of this and clever these folks are how do you integrate these? I mean visually, because this is essentially a new cinematic vocabulary. Each has its own cinematic philosophy and creative team. But here, you basically have two movies, one playing behind the other. Narrative economy had to be found elsewhere, and was. The similar, more traditional process used for example in 'Gravity' tightly connected the synthesized bits with the foreground actors, with the side effect of constraining both. So the main characters had refined, economical costumes and totems. A side effect of this method allowed two teams to optimize independently.

The original was notable in its production method a few real objects and bodies in the foreground with synthesized, situational background. Set aside the notion that every blow is spectacularly fatal. So set aside the dangerous notions of self and sex as explosive violence. But this is so finely crafted, so extraordinarily fine tuned story-telling that I have to remark on it. The history is even backwards, needlessly so.

The values behind this thing are disturbing, even repellent. What happens when we move from Roger Ailes to Leni Riefenstahl? Well, here we have something that tells me we are close. I live near Pat Robertson's elaborate film school, and have often wondered what the world will be like when religious extremists master effective filmmaking.

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