SPOILER DISCUSSION

1.It’s fitting that the film that prompts Gene and Pompo’s discussion on run-times and their effect on viewer enjoyment is none other than Giuseppe Tornatore’s Cinema Paradiso, one of cinema’s most moving works about the powers of the medium both as a canvas for dreams and as powerful connective force between people across space and time. Pompo’s issue with the film is not based in content or form but on run-time, so her attempt to experience the genius of the film is to come in part-way through.

Pompo works as a meta-reflection on Cinema Paradiso, effectively tackling similar ideas and utilizing similar shots/set-ups (namely that of Gene sitting in his “mental” theatre viewing the world) to evoke the same spirit. Pompo’s grandfather serves as an counterpoint to Cinema Paradiso’s Alfredo, pushing Gene to pursue cinema more emphatically and with respect to his own passions and desires.

2. When the original director mentions to Gene that film-making relies on creating the film with respect to one person, the film emulates a rack focus and highlights Pompo standing in the background. It’s immediately apparent who Gene is making this film for even though he doesn’t verbalize it till the latter portions of the story.

3. The ending is a perfect encapsulation to everything that came before and works as fantastic punch-line to Pompo and Gene’s initial discussion about run-time.