Jeremy,

Most Blogs on Philosophy Talk (PT) are put up without attribution, so let me first thank you for putting your name to this one. That is not a small ask, as writing takes time, and thought is your bread and butter.

Next let me say this picture PT has chosen is perfect. The girl who outed the crime is staring at us, while the others look to August, as I recall the scene. This is the dilemma I see presenting this viewer at least.

I address this to you as, in small, I see PT as a barn and your questions as posed to the PT community. Initially, I wrote a stream-of-consciousness response and continued to rewrite it in my head, as the inquiries you raise are significant, and the barn deserves better. I offer back my toast to which you may apply jam if needed.

Contrary to your suggestion, we are gaining quite a bit 'as we drift towards a cinema we experience alone.' When people first experienced movies, the crowd shouted in horror to see a train come crashing through the screen. Then we stopped shouting. We ate popcorn (which I still do in my dark room) and enjoyed the addition of sound and color, along with the cooled/heated shelter of what became a view of how to enjoy this new art form. But there is no one view, and the experience will constantly change. We will likely enjoy the cinema in virtual reality from our chosen perspective or that intended by the work itself. When I play games online or watch live sports, I seek out others, in blog forums, in Discord or Twitch, and share community, most times in silence. That community is changing and even more engaging than the 'cinema' that offered community or shared experience you discuss. We don’t communicate with others when we attend a theater. Most times, we didn't do this in your good old days either. Now we are more engaged than ever if we choose, or alone, as you say. I put it to the barn; we are never alone, and our isolation is philosophical.

Engaging with the subject matter is only sometimes required. In this case, it is absolutely, since, as you have stated, that is the film's intent. August tries to hand off the notes to the women, but they are for the men, and the women's new journey is clear enough.

If you take the premise seriously, you are not permitted a vote in this 'imaginary, impossible decision.' Melvin's path is another matter (poorly conceived), but the women, as do the children, need autonomy. Male identity and roles are not portrayed in this film, except as the villain. The film has the traditional gender issues somewhat reversed. The females are well spoken and empowered. Male intellect, in our world, is on the decline. Only about 43% of college undergraduates are men nowadays. This is not true by discipline, but traditional pathways to education are mainly righting the inequity of male and female roles, even if this is not true in the trades and military (though there is progress there as well.)

August offers no model for males except observe the issues the women and children are expressing in his notes and their drawings. A man's role may be to oppress women historically, but we need to have that conversation among ourselves and not in the company of women and children. It is a male problem, yours and mine. We have no vote. If we don’t own that, I’m not sure I understand how the dudes can abide.

Women have already voted to leave home to pursue education and promise.

As to what men should do, we shouldn't kill ourselves as is August's wont. We must come to terms with our history and plight our troth with equity as a first and primary promise. Every individual has their own path, which is philosophical and is measured in action.

Personally, I don't watch Harry Weinstein films anymore. I agree with the need for unarmed peace officers to do wellness checks, but I see a need for armed security despite ongoing police brutality. I have never been more aware of my privilege, but I don't have much wealth to rectify it in my lifetime. My giving is reserved for the absolute neediest, and my criteria are poor.

The joint path for men and women is to honor the least among us. That is the path in Ursula LeGuin's 'The Ones Who Walk Away from Omelas,' which Ray recommended not too long ago. We need to leave communities of oppression and honor our partners' vision, even when that means they will leave us to our barn.

Thanks for this blog,

Tim

It makes me to contemplate their role as viewers and the significance of collective engagement within the context of cinema. There are so many things I need to consider.