The question of whether or not the film or its characters are actually good Marxists is not only not interesting, but also misguided, since we’re bound to get nowhere with such relationships of subordination: it is the coordination that we must look at instead. Godard doesn’t film “Marxists” or things whose meaning would be Marxism. He makes cinema with Marxism [...] The strength of the film is that it brings together cinema and Marxism by treating those two formulas as two different conceptions of art in general, and hence also of Marxist cinema. -- Jacques Rancière
影片意识形态脱胎于70年代石油危机从人们的对话中可以看出小镇曾是一座热闹的旅游城市大萧条的到来让它变得破败、空荡、毫无人气科学家利用非人的研究和居民达成共识:Make Potters Bluff Great Again用活死人重新营造出繁荣的假象危机到来苦难还未波及到个体时很难意识到自己早已身处漩涡之中结尾揭晓答案焦虑集中爆发