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Freud and Film

Freud and Film

Films are probably the closest medium we have to experiencing the inexplicable quality of the dream in our waking lives.  Rich in symbol, metaphor, movement and mystery, films, like dreams, enable us to participate in another reality, and, through that participation, to be transformed.  Films are like dreams and dreams interpret symbolism in ways science has not even fully discovered yet.  The images and symbols within a film are unending and unaccountable.  Even the creators of films themselves cannot be aware of the unconscious impact of them all.  Imagine the impact of a movie that was full of imagery that only, in its unconscious capacity, complimented the narrative.
The film, October, contains an overwhelming amount of rich imagery.  Perhaps this is because it is forced to because of its lack of verbal communication.  When we watch the soldier standing outside the door of what I assume to be the royal chambers in October and the shots within the scene show his hands fidgeting, we assume he is nervous and even become nervous ourselves.  Why?  This is the type of question which plagues me in retrospect of watching  the film, October, since

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