Skillfully scripted and well-written lyrics open the discussion on the role of institutional support in personal relationships. First, the musical shows how the metric system is applicable to love affairs. Second, it sarcastically focuses viewers on the stereotypes of female conduct in romantic relationships. Third, the musical articulates a concept incorporated in many religious ideologies, i.e. woman as an object, woman as a commodity.
Numerous elements of neo-management and quantophrenia (See Pitirim Sorokin) argue that relationships are curable if certain scales and methods are applied. Artistically, the device which measures the level of treatment from romantic rejections is a unique element of this short-movie. It gives some level of fun and refers to certain modern dating apps. If dating apps appear as a mass market tool for hook-ups, then in the movie, the special institution which cures "broken hearts" adds an element of prestige.
The second narrative that can be inferred from this short-musical is about the wide-range of prejudice toward a woman's credibility. Women are shown as marionettes guided by mercantile ambitions. Their responses in relationships are based on imitating everything - orgasm, appreciation, excitement and etc. It is pretty funny when these responses are sarcastically included in the lyrics and presented in the choreography.
And, the last major theme of the movie is the premise that women don't have choice. As in certain societies, in this movie women are a commodity. Leah, the main character, was selected for marriage by principal administrator. The final scenes dramatize and underscore a significant portion of certain cultural ideologies, wherein the woman represents a commodity, a thing. As Janis Joplin sings "Oh Lord, won't you buy me a Mercedes Benz?", the client requests a "new ride". The director of the movie parks the idea that women are just a car for a ride, and all institutional support in personal development just tunes the female settings for the market. As if it there were a garage, Leah safely "parked" for marriage.
Numerous elements of neo-management and quantophrenia (See Pitirim Sorokin) argue that relationships are curable if certain scales and methods are applied. Artistically, the device which measures the level of treatment from romantic rejections is a unique element of this short-movie. It gives some level of fun and refers to certain modern dating apps. If dating apps appear as a mass market tool for hook-ups, then in the movie, the special institution which cures "broken hearts" adds an element of prestige.
The second narrative that can be inferred from this short-musical is about the wide-range of prejudice toward a woman's credibility. Women are shown as marionettes guided by mercantile ambitions. Their responses in relationships are based on imitating everything - orgasm, appreciation, excitement and etc. It is pretty funny when these responses are sarcastically included in the lyrics and presented in the choreography.
And, the last major theme of the movie is the premise that women don't have choice. As in certain societies, in this movie women are a commodity. Leah, the main character, was selected for marriage by principal administrator. The final scenes dramatize and underscore a significant portion of certain cultural ideologies, wherein the woman represents a commodity, a thing. As Janis Joplin sings "Oh Lord, won't you buy me a Mercedes Benz?", the client requests a "new ride". The director of the movie parks the idea that women are just a car for a ride, and all institutional support in personal development just tunes the female settings for the market. As if it there were a garage, Leah safely "parked" for marriage.
