2 Days in New York

The artistic, political, familial, conjugal, critical, social, quizzical, spiritual, sexual and psychological creatively intermingle in Julie Delpy's 2 Days in New York, wherein free-spirits lackadaisically/audaciously/petulantly/mendaciously contend with both the pretentious and the vituperative, in the pursuit of playing a specific role.

These roles themselves, when abstracted, transformed into symbols, placed within a fluctuating in/determinate semantic matrix, in/determinate depending upon the rhetorical convictions of the urges to clarify (and the resultant multi/bi/lateral counter-clarifications), fluctuating inasmuch as difference guarantees the establishment of multiple points of view (many of which temporally fluctuate within themselves [unless you write this kind of thing]), can produce multilateral takes which nurture an inclusive body politic wherein manifold outlooks survey their surroundings, i.e., Web 2.0.

The film itself isn't really my style but I appreciate the dynamic complexity within which it's exoterically expressed.

Employing the spice mélange.

And I learned, yet again, that circumstances dictate reactions, and making yourself fluid, that is to say, being friendly, often engenders a quizzical response, i.e., we're friendly, why are you pretending like we're friends?, and that it is more sophisticated, if not more pretentious, to pretend that you had indeed not seen your friend, in order not to appear callow.