Ok. Hartley is really a master at flat irony, something he borrows from early Godard. The difference being that his ideas are more american, in this case, the fluid of frustrated dreams.
So you know from the start that the dialog will be fantastic. What surprised me was the score: it swaddles enough to add emotional depth to the flat reductionism. Hartley would later go to flatten the score too, as the presentation of his ideas get more abstract.
The concerns are the same and they travelled up to “No Such Thing” where the metaphors become more complex. TV, the media, love as a purity apart from it, un-stylized violence as a container of cinematic emotions.
And the editing…great rhythm.
But does Hartley believe the message is important? I’m afraid so.
Watch it for the execution, but you will sigh at whatever he’s telling you.