1. Nothing is Simple
Cynthia Freeland

2. The Dance Sequence summary
The dance performance shapes the narrative from the outset, symbolically, Freeland discusses how the fact the curtains don’t close at the end suggests the films “does not have any real closure”.
Freeland also highlights how the repeated motif of Marco crying in the theatre creates an almost cyclical narrative.
This adheres closely to the dialogue when Katerina remarks “nothing is simple” which seems to both “Finish the films dialogue” and act as a “preface to future developments.”
Women shown to be vulnerable in both sequences. Secondary viewing foreshadows positions of women throughout the film.

3. Women’s bodies: active and inert summary
Freeland depicts TTH as a “male orientated film” focused on visual interests using the cameras “voyeuristic point of view”.
an audience would see the foreshadowed problematic sexualized perception taken on by Benigno.
This highlights how very animated the bodies of Alicia and Lydia were before their comatose, in order to further “dramatize” the objectification of their bodies.
Freeland describes the film as the of a “Greek tragedy”, as the focus is primarily on the men of the film.
The women act as catalysts to Benigno’s “hamartia”, their objectification is only to deeper develop their relationship.

4. The Animated Body summary
Freeland discusses the issue of “subjectification” rather than “objectification” of the women, as Begnino accepts Alicia’s autonomy and treated her as though active.
Although his “flawed” mental state hazes his judgment and perception of what is acceptable when he rapes her.
Marco does the opposite, describing Lydia’s body as “disgusting” shows his de-humanization of her to a human shell. Perhaps doesn't’t appreciate her beauty.
Both protagonists refused to conceptualize their women’s needs.

5. The Challenge of Interpretation summary
The film is “self-consciously theatrical”
The dance sequences and short (black and white) film act as catalysts for “sensuous pleasure” and “exploration of bodily rhythms” .
Black and white film shows an event as an act of love, Benigno misinterprets this. Did Alfredo ask permission?
Freeland discusses how the protagonists are performing and constantly developing, therefore an audiences interpretation does

6. Terms
Rumination: the compulsively focused attention on the symptoms of one's distress, and on its possible causes and consequences, as opposed to its solutions.
Vegetative states: when a person is awake but showing no signs of awareness.
Objectification:  treating a person as an object.
Salient: most noticeable or important.
Innocuous: not harmful or offensive.
Somnambulist fashion: sleepwalking.
Languid:  having or showing a disinclination for physical exertion or effort.

7. Terms cont.
Voyeuristic:  the sexual interest in or practice of spying on people engaged in intimate behaviours, such as undressing, sexual activity, or other actions usually considered to be of a private nature.
Odalisque-like: a female slave.
Hamartia: In tragedies, hamartia is the protagonist's error or flaw that leads to a chain of plot actions culminating in a reversal from their good fortune to bad.
Vicariously: endured or done by one person substituting for another.
Ascetic: relating to or having a strict and simple way of living that avoids physical pleasure.

8. Conclusions “In life, as in art, nothing is simple.”
“The director is emphasizing ways in which human beings present themselves to others and occupy certain roles requiring constant attention, response, and interpretation.”