Electroma ending relationship

What is the movie "Electroma" about? | The Daft Club - Daft Punk Fansite

Ending a relationship is especially hard when you're not entirely confident that ending it is the right choice. Unfortunately, it's hard to know for. This Is How Experts in Psychology Say Goodbye to Meaningful Relationships. “We all thought the end of Electroma, when both the robots . had to try to make The Guardian sustainable by deepening our relationship with.

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Inevitably, Electroma will eternally be defined in music and film history by what it lacks. Hence, to call the film one-dimensional would be understandable. Yet, it would be simplifying a complex moebius strip whose surface, if lethargic, is engorged with plenty of narrative pabulum to engage the screen for 70 minutes, even if the same story could have been told in a quarter of that time. Though it's far from a great picture, Electroma is film stripped down to pure essence; a linear framework of mobile pictures moving from point A wherein the protoganists, "hero robots" as they're credited, cruise through the desert searching for civilization to point B wherein the hero robots abandon a society that has rejected them and reenter the desert.

As Bangalter put it, everything inbetween is "music for the eyes". The plot concerns two robots interestingly enough not played by Daft Punk themselves, but instead by actors Peter Hurteau and Michael Reich who enter a suburban town via a nearby desert to undergo reconstructive surgery in order to make their permanently-adorned helmets resemble human faces.

The locals of the town, all robots themselves, instantly reject them for their experimental new looks and chase the hero robots through the streets as a blistering sun begins to melt the latex of their facial gear off. They retreat to the desert and expire, alone, rejected, and defeated. That's pretty much the entire film. Some might mistake the film's open spaces -- its sustained landscape shots, mid-range portraits, close-ups on the frozen metal of expressionless robot faces, sillhouetted surgical technicans, and long periods of silence -- as myopic vapidity rather than a purposefully simplified template.

Yet, there's a glaringly apparent existential crisis at the film's core concerning the true nature of identity and its conflict with social regulations. For all the detractors' cries of pretension, it's a pretty distilled and universal narrative.

Magritte knew that appealing to mass indignation did not require traipsing off into fantasy worlds. Rather, Magritte and the Surrealists preferred to slightly distort, manipulate, and pervert the mundane, to turn the recognizable iconography and motifs of everyday life on their collective heads.

Like Daft Punk's music videos, Electroma is stunning to watch. Its vivid visions are well-composed, pristine, and electrifiying, They are so compelling that they make the lack of dialogue a non-issue for filmgoers patient enough to suffer the film's snail-paced crawl.

The anthropomorphic human masks are a grotesque caricature of our own refections as interpreted through Svanmajer and the Garbage Pail Kids.

Daft Punk: Electroma [DVD]

The suburban robot town is lucid and familiar, a mirror of locales many of us grew up in. The film's final image, sustained for over five minutes of screen time, will haunt you long after the credits roll. It's hardly essential viewing, and the suspension of the visual from the tactical may come at the expense of the film as a whole, but Electroma does, at its least, provide adequate sustenance for the eyes. If there is an emptiness present in Electroma, it's a hollow at the core of the suburban life, which takes something truly magnificent, like transformation of the hero robots, and disavows it upon first judgement.

The robotic masses are staid, complacent, and stuck, even by the camera movement, which presents them like technicolor Diane Arbus stills. They're unwilling to look beyond themselves. As you resent them for judging the hero robots in their news skins, you also feel bad for them. They too are tragic figures. Curtis Mayfield's "Billy Jack", which appears in the film, is about the desolation of urban struggle.

Mayfield was perhaps transferring energy from the film of the same name. While these forms of discrimination are actively debilitating, the strain which greets the Daft Punk hero robots is passive, domestic, intimate, and social. It is a peer limitation set on identity, viewing aberration as treason. The politics of the staredown. It's not impossible to imagine the return of "humanity" to robot culture as a return of an aboriginal culture to its home land, a reclamation of human emotion in the age of complacency.

Eager to prevent miscegenation, the locals intimidate the people-faced hero robots into exile. In an instant, people that we know and love--friends and family members--can be taken from us, leaving the rest of us to work through the many feelings we have towards the deceased. While saying goodbye is not the same as someone dying, in some cases they're similar. Have you ever moved or graduated or secured a new job? How many of your friends and associates did you maintain contact with?

Chances are, many of the people you used to spend time with--even the ones you attempted to stay connected to--faded away with time and distance. That's because it takes a significant amount of energy to sustain emotional connections while confronting the demands of adulthood. Now, you may think to yourself, "but I see them all the time on social media. So, in some respects, your moving to a new environment resulted in something similar to death: And your relationship to that person changed.

That's why psychologists and other experts trained in mental, emotional, and psychological wellbeing prioritize what they call termination.

Termination occurs when a therapist and client end their relationship. And what's most interesting about termination is how and when it's discussed. Whereas most relationships fade into the background, terminations are intentional. They are discussed for weeks and sometimes months prior to the actual ending.

As someone ending treatment with many of my clientsI've brought up termination--or the ending of our therapeutic relationship--several times throughout our work. But especially over the last month.

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Each time clients say something that feels relevant to the ending of our work, I remind them about our ending. I specify how many sessions we have left. And I invite them to share more of their thoughts and feelings about it. When done properly, termination can help people leave the relationship with a sense of closure, wellbeing, and confidence in their future. Paradoxically, the only way that people can access those positive feelings is by sharing all of their frustrations, fears, regrets, and wishes prior to the relationship ending.

During what I call the "termination phase" of treatment, I focus on creating space for a wide range of feelings. I encourage clients to share thoughts that they've typically kept private.

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I empathize with their wide range of responses. And I share my own reactions to the ending of our relationship. I do all of this while summarizing the themes of our work. Encouraging clients to think about what they've learned from our time together.