Where night is more than the absence of the sun

The sense that Pasolini speaks about reality as a creation and product of the interpretation of what our limited senses lead us to as what we call "objective reality" finds a strong echo in another great film director whose work is tinged with an intense and significant obsession with philosophical anxiety when it comes to the question of time, namely Tarkovsky, where This emphasizes the selectivity and anatomical fragmentation in cinema's relationship with time. In this, he defines the work of the film director as "sculpting in time," as the work of the film maker is compared here to the work of the sculptor who "takes a block of marble, and removes everything that does not form part of the features of the finished image of his work, and who [i.e. the sculptor] is internally conscious "With it." In this context, the film Rashomon manages to reveal itself as the final product of several conflicting sources, all rooted in the same time, but which see what actually happened in different ways.