At the beginning of Federico Fellini's 8 1/2, a man stuck in a traffic jam climbs out of his car and floats away up into the clouds. In the final third of Luchino Visconti's The Leopard, we watch as an Italian nobleman makes his way through an opulent ball, realizing that he, along with everything he believes in and stands for, has become outmoded by history. In P.T. Anderson's
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