On 8th August 2018, French philosopher Paul Eichmann dies, leaving his long-time partner, Brune Hellman, and their three-year-old daughter, Madeleine. Shortly after that, a young man comes to their door. Alexandre Muller, Paul Eichmann’s son.
Although it first looks like a classic drama, Paul Is Dead actually falls into the realm of ‘modal realism’, the logical theory propounded by philosopher David Lewis, according to which any description of how our actual world might be is also the description of how another possible world might be, in parallel with ours. The film opens up to other possibilities that are beyond the mere awareness of its filmic nature. The film treads many paths, as so many fictional possibilities that are all acceptable since they are parallel to ours. People and things become more complex and powerful, as though seen through a kaleidoscope. Paul Is Dead manages to create a meandering constellation of casualty discoursing primarily on how death, mourning, and speculative theories of other worlds combine and inform one another.
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