The name is absent

Luna was filmed using three non professional actors and, in this
respect, it was necessary that the character of Victor was interpreted by the
researcher, me. Like Leonard Shelby (Guy Pearce) in Memento and Tyler
Durden (Brad Pitt) in Fight Club (1999, Fincher), Victor is (un)consciously
confused about the reality he is living. Yet, for Victor, it is not his mental
health but technology which works to reinforce his desires. And so to be the
person who is writing about the confusion and to simultaneously be confused
in the diegetic world of the film is a very captivating paradox, and a perfect
way to ‘close the circle’. Paradox and confusion thus impregnate both the
thesis and the film. Luna is a film in which an unreality occurs inside a dream
where the protagonist becomes immersed in virtuality. Four different levels
or layers of reality - the (un)reality from which the film is filmed, the
diegetic world of the film, dreams and the virtual world of the games - all
meet in a short portion of time, reflecting in this way the plot of some of the
most significant films examined in this research. That said, Luna exercises the
capacity of cinema for suggestion and the absence of a definitive conclusion
that produces a second paradox: the audience can feel confused about a film
that is all about confusion, something that we can also observe in films such
as The Matrix, eXistenZ, Total Recall and Abre los Ojos.

Victor’s confusion is provoked by the disruption of his perfectly
ordinary and satisfactory life with the introduction of a shock that changes
everything. In this case, the incident that affects Luna opens a gap between
Victor and his reality. Victor explains in a monologue how he is consciously
adopting a position of total denial, submerging himself in a world of illusion
where he is happier than facing the ‘ignorant bliss’ described by Cypher in
The Matrix. Victor makes use of technology in his aspiration of abandoning
reality after Luna’s incident: becoming immersed in videogames (instead of
actual games, like football), Victor obtains satisfaction, living the experience
of being someone else or simply not being himself in this world. In the virtual
environment, Victor lives and enjoys life and this is reflected by the vividness
in his use of the interface that contrasts with the passivity and boredom of
the rest of his life. The reality that he has to walk is a transition, a
‘punishment’, which he has to travel every day. Technology and the digital

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