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when you're drifting in the ocean, possibilities and listlessness both exist. as Dodd spells out, we all have a master, and finding such purpose -- within yourself, and the pulls of society -- was my (initial) take away from the film.
Freddie's master is carnality, interposed with violence (he dulls both with alcoholism). Dodd's is adulation, and its empowerment -- his philosophy is nothing more than a vehicle for him to be praised.
together, they inspire one another: Freddie is Dodd's pet, his id come to life, whereas Dodd is a socially accepted version of Freddie, a man who shares his same weaknesses ("I drank the rest of your potion" / Amy Adams' bathroom scene), but masks them with a semblance of control.
while not a total undressing of Scientology, I do believe *all* divine theology is looked down upon here. it seems to be the most unfulfilling master, both as a façade for Dodd, a non-answer for Freddie, a pointlessness for Val (whose master is literally his father), and a betrayal for Laura Dern as the loyal acolyte.
one of PTA's favorite themes, regret, also shows up -- pairing with the repetitive cult exercises, which symbolize a life that hides from the truth. as for PTA's filmmaking ability, that is masterful in and of itself. the mundane becomes arresting, the score is perfect, performances brilliant, and the ocean theme is recurrent in subtle ways, from the blue wardrobes, tinted dusk and painted background walls.
the movie does stall at points, especially in the final 15 minutes (I kept waiting for any of those scenes to be the "ending"). and while I'm sure there is more context than what I could pull, I might judge the pacing differently upon another viewing.
regardless, a captivating film worth dissection. --------
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