More importantly than anything, it cuts close to the bone, with
much of the film feeling like Gilliam confronting his own mortality: «for all the film's flaws, it feels like a very personal and moving piece of
work as Qohen moves towards some kind of acceptance that his time
on Earth will be brief in the
grand scale of things... it's not so
much a film about a search for a meaning, as an embrace of meaningless, and it's fascinating in that respect.»
Though one of them paints images and the other does not, one might well feel that they have
much more in common than either one does with a painter who prefers to
work on a
grand scale and with reference to important public issues.