"These sorts of things can happen, identities can be switched, the emotional implications are something that he has not been trained to feel. His whole life has been about separating himself from these sorts of actions"
About this Quote
Egoyan is circling a signature anxiety of his films: the terror of misrecognition, and the even bigger terror of what follows when recognition finally lands. The talk of “identities” being “switched” sounds procedural, almost bureaucratic, as if a human self were a label that can be misfiled. That dryness is the point. He’s describing a character (and a certain kind of modern subject) who can intellectually accept plot-level chaos while remaining emotionally illiterate about what it costs.
The key phrase is “not been trained to feel.” Egoyan frames emotion as a learned capacity, not a spontaneous moral compass. This is a sly indictment of institutions - family, work, class, masculinity - that don’t just discourage vulnerability but actively school people in dissociation. The character isn’t innocent; he’s cultivated. When “these sorts of things can happen,” the passive construction absolves everyone: accidents occur, identities swap, paperwork blurs. The filmic subtext is sharper: someone benefits from that blur.
“Separating himself from these sorts of actions” sketches a life built on insulation - the professional who stays clean by keeping experience at arm’s length, the observer who refuses complicity while quietly relying on it. In Egoyan’s universe, the tragedy isn’t only the switched identity; it’s the trained inability to register the human fallout. The line doubles as a mission statement for his cinema: forcing proximity between the detached self and the messy consequences it’s spent years rehearsing not to feel.
The key phrase is “not been trained to feel.” Egoyan frames emotion as a learned capacity, not a spontaneous moral compass. This is a sly indictment of institutions - family, work, class, masculinity - that don’t just discourage vulnerability but actively school people in dissociation. The character isn’t innocent; he’s cultivated. When “these sorts of things can happen,” the passive construction absolves everyone: accidents occur, identities swap, paperwork blurs. The filmic subtext is sharper: someone benefits from that blur.
“Separating himself from these sorts of actions” sketches a life built on insulation - the professional who stays clean by keeping experience at arm’s length, the observer who refuses complicity while quietly relying on it. In Egoyan’s universe, the tragedy isn’t only the switched identity; it’s the trained inability to register the human fallout. The line doubles as a mission statement for his cinema: forcing proximity between the detached self and the messy consequences it’s spent years rehearsing not to feel.
Quote Details
| Topic | Mental Health |
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