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It totally makes sense – what comes after a dream sequence is a shot reminding us of the essentials of cinema: concentrated light and distributed darkness. The camera moves skillfully to merge two different worlds, from projection to shadow play. This high-contrast silhouette layout could have belonged equally to a western or a postcard, but there is nothing idyllic in this landscape. This cowboy moves uncannily fast, as if we are watching an archival screening of an early film. We’re called to keep up (with) the pace, with time on our side. We’re guided by our own light, the one we desperately hold on to.