Bugonia

Cinematically objective, the camera a window for audience members to peer through and become godlike, enables an undeniably perfect capture of the beauty within subjective experience. To elaborate, the world of Bugonia becomes viscerally real within its final curtain draw revealing the aforementioned window, a celebration of nature pulsating through the heart of humanity; the yuánqǐ of internet-enriched insanity, a celebration of insanity pulsating through the heart of existence in that it's made-up, in that it's real in accordance with our believing so. That reality is fundamentally a mechanism we're utterly subservient to, and could have totally wrong. Even if that's true, it's still something we're a part of, something we still affect in manners instrumental to us. In this way, we're both ultimare and nothing, paradoxically a part of that infinite limited mechanism, birthing the beauty of subjectivity Bugonia circularly captures in itself. Bees aimlessly bouncing around and producing something, making something bigger than themselves (the spread for a schizophrenics toast).