Given the nature of the production, Untitled is dislike any of Michael Glawogger's previous works and yet the film still features his observational eye and candid aesthetic, one which manages to carry a visceral prudence as its stoic, pragmatic lens quietly documents various enclaves of humanity. A tone poem as much as travelogue, Untitled evokes a pastoral deconstruction of what it means to be free, exhibiting how the veil of safety and security directly restricts the beautiful nature of impulse, exempting the individual from the ethereal nature of true liberty. In a sense, Untitled as a film effectively becomes a manifestation of Glawogger's varied work, a powerful swan song and work of art that flies in the face of convention. Untitled is a rejection of how we as a modern society categorize or define existence, specifically being confrontational towards the management and order which technocracy and modernity operate in the current epoch. Untitled explicitly insists it has no aspirations in terms of narrative or theme, it's exploratory perhaps to a fault, one which is expansive and perhaps unwieldy at times, and yet what it lacks in direct, philosophical prudence, it makes up for with ethnographic breadth. Featuring a romanticism for this forthright, tough, yet pure life of existence, Untitled is perhaps best viewed as a plea for a more ecologically friendly world, one in which man and nature are harmonious not in a state of perpetual confliction
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