Page 117 - Metropolis Megazine No.120 International

what you can't correct. that everyone experiences. There and never definitive. There are no
is no safe distance, no comfort. big epiphanies, no turning points.
The ambition of Michelin stars, the Watching «The Bear» is like being There are small gestures of resistan-
constant pressure of technical cri- constantly on alert, waiting for so- ce, moments of listening, and ten-
ticism, and the ever-present threat mething to go wrong. Even when tative attempts at connection. This
of bankruptcy are not just profes- it doesn't, the body stays tense, as is sufficient to sustain the journey.
sional obstacles—they are symp- it has lost the ability to live in any There is never sufficient resolution.
toms of a system that demands other manner. And, like Carmy's
perfection in a context where no thoughts, the editing never slows In the end, «The Bear» doesn't clo-
one is emotionally whole. Even down: it jumps, accumulates, and se circles, deliver catharsis, or offer
moments of success, recognition, repeats—as if the very structure of answers. It just gives us back what
or connection rarely provide relief. the series were shaped by an inabi- we already know well: the feeling
They often exist only to reinforce lity to locate rest. that, no matter how hard we try
how fragile everything that sus- to keep everything under control,
tains them is. That's what makes the series so there is always something about to
unsettling: the way it turns the at- fall apart. And yet we come back
The series captures this tension tempt at normality into a perfor- the next day. Because maybe that's
with unusual rigour: close-ups, mance of restraint. The characters what life is all about: learning to
a tight pace, and no breaks. The aren't looking for healing; they're exist within disorder—and, when
viewer is thrust into the scene— just trying to function. Change, possible, finding something there
into the heat, noise, and anxiety when it happens, is rarely visible that resembles belonging.