The article discusses the film 'Rosebush Pruning' directed by Karim Aïnouz, comparing it to the works of Yorgos Lanthimos known for their unique absurdity. The film juxtaposes a deeply silly premise with moments that captivate the audience, suggesting it navigates themes of disorientation in both narrative and filmmaking style. It further presents Aïnouz's perspective on cinema, positing that some films resonate more when explained than when merely observed, implying a disconnect between the filmmaker's intent and the viewer's experience.

The piece also critiques the tendency of certain radical films to thrive only in their promotional materials, which often paint a different picture than what the audience receives in the actual screening. It highlights the inherent subjectivity in film appreciation, as exemplified by the description of a challenging eight-hour film, revealing the role of individual viewer context in determining a film's impact. Overall, the article serves as a commentary on the relationship between film narrative, audience perception, and critical interpretation.

By referencing the Berlinale festival, the article situates Aïnouz's work within a broader context of contemporary cinema, exploring how different narratives are presented and perceived in prominent international forums. The mention of other films and directors at the festival connects Aïnouz's experiences with those of his peers, suggesting an ongoing dialogue in modern storytelling that blends both humor and critique.