When we watch a film for the first time, we get an impression of it burned into our minds that we refuse to let go. Watch it a second, a third, and things begin to meld together, creating a new interpretation or appreciation for dialogue or characters, but most importantly, a character's point of view. The human psyche can present itself strange, unique and interchangeable. And like the clouds in Sils Maria, the Maloja Snake, a spectacular phenomenon of a cloud bank that winds its way through the Alpine pass like a snake, we too can change at a moment's notice.

It is strange but a beautiful thing that the film Into The Wild chose to begin by Chris' trek through the snow after being dropped off at a certain location. Why? Because the first person you see that wants to help Chris, is the actually the last person to see him alive.

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The character Helena, with her ambiguous 'death', could be a death of that version of herself, where she starts a-new elsewhere without Sigrid. This is what Valentine tries to encourage, a more positive spin on an ending that leaves you wandering. Maria, on the other hand, still in the mind of Sigrid, point blank says its a suicide, because she doesn't want to associate herself in this demeaning character.

When we watch a film for the first time, we get an impression of it burned into our minds that we refuse to let go. Watch it a second, a third, and things begin to meld together, creating a new interpretation or appreciation for dialogue or characters, but most importantly, a character's point of view. The human psyche can present itself strange, unique and interchangeable. And like the clouds in Sils Maria, the Maloja Snake, a spectacular phenomenon of a cloud bank that winds its way through the Alpine pass like a snake, we too can change at a moment's notice. One moment, a sunny beautiful day, the

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In the mountains on a hike in Sils Maria, the philosopher Fredrick Nietzsche refined his concept of 'eternal recurrence' in a thought experiment. The question on whether we would accept to live out our lives over and over again with everything the same for all eternity, or gasp in horror of this repetition and wish for something different.

And what could be a thoughtful interpretation of this, is that, the director the play, Klaus, comments on how Helena had once been a Sigrid, and how Sigrid will eventually become a Helena. Sigrid, from what we can gather, is more like an attitude than a singular character. Like youth, that eventually dies to become older, like Helena.

Poetry by Yeats. Enjoy

But what is even more interesting is the conversations between Maria and her assistant Valentine. In these interactions, life imitates art as the text of the play begins to comment on the text of the film and vice versa. Like the Maloja Snake, the ebb and flow of the clouds personify the ebb and flow of age and identity. In these scenes we also realise that the relationship of Val and Maria is also like Sigrid and Helena. However this time, Maria is like Sigrid and Val is mirroring Helena because her job requires her to live for Maria the same as Helena obsesses to provide for Sigrid. Hence, we follow the inevitable change of from one character to another, of how Maria transitions to Sigrid, that is placed more like an attitude than anything else, to Helena, an embodiment of a fresh start all alone.

Extract from W B Yeats poem 'The Song Of The Happy Shepherd"

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It is not a battle, but rather a duet of science and religion through the connection of the eye, of the soul and of what happens after it leave our bodies. The story of I Origins filters these questions through one man's journey, through his facts, his instincts, and then through his connection of emotion. It is showing the man behind the mask of science, and how, through a personal adventure, some things cannot be explained so easily; leaving room for more questions, and only through a personal experience, can determine his

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