And in another, it's a film theorist's essay on the nature of conscience, which wills itself into being here in the form of
the unblinking eye of a camera operated by nobody in particular — or, if you feel like getting all Bergman on Haneke's ass, perhaps by God himself.
The
camera shows us a real time,
unblinking look at the world through his
eyes, as he lazes around his apartment overlooking the neon lights
of Tokyo, before taking a hit
of a powerful hallucinogenic drug and heading to a nightclub to meet his friend.