Synecdoche, New York

This truly is a film about everything, and everyone. It is a film about conscious existence and subconscious being, a film about love, a film about death, and the art and emotion expanding in between the longing sonder and emptiness. Synecdoche, New York is sonder as meta-cinematic expression. Life for everyone in their individualistic existence is simply their own syncretic vision of fleeting hope hurling towards inevitable death, and that’s perfectly ok, it’s just how things are. We all live in our own fiction unbeknownst to other’s fictions, so what truly matters is the genuine emotion we individually find and connect with through it all.

Emotion is the only reality humanity is capable of grasping, and we must accept and learn to appreciate and live with that fact before it’s too late and our life has passed us by. Much alike an aspect of the film, where we constantly experience time leaps multiple years into the future without preparation or warning. A reflection of the fleeting nature of existence and how we can experience the transience of time before it’s too late, and the post-humous regret we will feel as a result of our ignorance to emotion and the inevitability of being. This isn’t a hopeless or nihilistic film, in fact, it’s quite the opposite.

"Sonder — noun. (neologism) the realization that each random passerby is living a life as vivid and complex as your own." Trying to analytically determine whether events in the film 'really happened' or not, or taking anything in this film as a literal matter of reality, is completely and utterly fruitless, and I believe goes completely against what the movie stands for. The film is intentionally crafted to defy such an undeviating analysis. It all happened, within a film! It is very much about why we make anything, why our individuality is significant. What do we hope to accomplish by creating or feeling something? How can you make anything about life if you are at that very moment?

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