Nicolas Cage tenderly navigates the thorny world of public perception
We control little in this world, least of all what others think of us. That's the gently despairing moral at the core ofIn his last feature, Fantastic Fest 2022 selection, Borgli gouged into the meaty topic of solipsism, narcissism, and self-mutilation as a form of attention seeking.
He gets far more than that little sliver of recognition when he starts popping up in people's dreams. People he knows, random strangers, folks he has never met and to whom he has no connection. Mostly he's just ... sort of there, a fact that only fuels the fires of his insecurities. It's not that he's doing anything in particular in the real world to insert himself into all these sleeping psyches.
The mechanism is less interesting to Borgli than the underlying theme of our own powerlessness in the face of people's perception of ourselves. It's simplistic to say thatis a metaphor for viral fame or – as the phantom Pauls' actions become darker – cancel culture. A third act jab at the perils of blind commercialization and the toxic pact between tech bros and influencers sidelines Paul, but that is exactly the point. It is, after all, never about him.
However, it is all about Cage, and his gentle inhabiting Paul, his neuroses, tics, ego, and often unhelpful responses to the situation. It would be easy to imagine him sat across the table from fellow fictional academic Alexander Portnoy, shuffling his feet at his more outrageous conversational points. Cage slowly develops Paul's sense of moral outrage and disconnect from the standards of the world .
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