There is also
a devastating absurdity to his film and, by extension, the statement he's making.
Not exact matches
Lanier sees with
devastating clarity the ghastly
absurdity of the unmoved mover being taken as the model of deity in a religion of which the principle of principles is love (deus est cantas).
The lengths to which
devastated widower Shmuel (Géza Röhrig) goes to achieve the sense of finality that he can not locate within his religious community eventually reaches the point of
absurdity.