All those detail are skipped. When you're waiting something high, the film ended suddenly. Describe things happened during those years only with few words and scenes. You don't see anything growing, and I can't get even a little echo.

In "Supplement," Zanussi started with "how people face (other's) death," answering "how people face (one's own) life." Now he fellowed this context, looked himself and asked, "how people face (one's own) death." His now introspect rather then discover. He stop analyzing the truth with science like in his "Illumination." He just calm down and look at himself.

You should note that Zanussi shows some humor in this film. He said by actors's mouth:

"You must be hypersensitive. So you are playing in this film talking about death."
"I don't know what does this film for."
"I don't know either."

This is also what Dr. Berg experenced in his last life. When you can understand your exist, believe what you believed (belief, or faith), you can prove how to stay with death.

He don't argue about euthanasia, neither agree nor against. But he said, you have to save yourself. Life as a fatal sexually transmitted disease, can't be save by other's touch.

The final awakeness is only available in your own heart.

Tsai sais, he wanna film something real, which may full with gray and question without any answer. But you do not treat this film as kind of documentary. This film is never real. It surrender the viscousness of weep.

Let's begins with my first sight of Tsai. I don't watch much of his film in fact. My first sight of Tsai came from his "Talking with God" in last Golden Horse Film Festival. In this short film, you can watch he filming subway without people, dying fishes, etc. He isn't showing what God's looking at. He is talking to God. The short film itself basically is a sacrifice.

You can see the same scene in "Bu san." The woman hard to walk walking all the time; the Japanese always be annoyed when watching movie and be denied when asking love. You can also notice that in some segment the time seems be prolonged interminate. The slowness of slowing step itself retarded then. Just like the punk jelling in the air, calling the true name of "Silence" in the language you can't understand, and lighting the face of "Darkness." He is not only showing how time watching chenging world but also wanting you talking to his God (in fact himself) when gazing the empty scene. "Visit my movies as they were temple or church," Tsai said.

The only 11 dialouge (not 10) in this film start and end suddenly. They are not Paternoster. They are candle of temple admiring the "Dragon Inn" you treat as background.

In my opinion, this is what Tsai is talking and listening.

Three films of his "Conscience Trilogy" basically tell the same thing, the tiny pertinacity which can make you cry. But what's in this first film of "American Trilogy?" He sweared making American films outside Amercia. But is that all? What does Amercian mean to Lars von Trier?

The expression of this film is quite well. I believe he can save lots of money but get better effect then taking any real scene. The moonlight, the fire, the mountain aurora, the flying dandelion, and the snow on the ground, everything is so delicate. I can't even image how to express if this film is taking the real scene.

By the way, the frame each chapter begined is so lovely. With voice-over, I can feel that the place outside civilization is just in front of my eyes.

We are just talking about the cover.

This is a story about "looking through one's heart." You can look through the stage without mis-en-scene. But you will find then that you can never see what one's heart really is even without walls outside. All what you think you know in fact is arrogancy which is so hard to be seen.

There is no more different between mercy, morality, love, lust, and philosophy. Arrogancy, the true topic of this film, suddenly appears and surprises you.

From Elm Street without elm to Dogville without Elm Street, the last dog in Dogville become the only witness in quiet.