In
the closing scene, there’s a pan of the mountains as Mason and his friends are
hiking. Once they’ve stopped to sit and rest, the camera is set at a
point-of-view shot where we are able to see his other two friends just before
us as he would. The prominence of the conversation they’re having is crucial to
the symptomatic meaning of the absolute film. The camera slowly zooms in close
to capture the intensity between the two as the ideology of moment seizes you
is conveyed. Then Mason so graciously ends the script with eye contact directly
into the lens of the camera with a lingering shot of his smile after saying, “The
moment is always right now”. He is now holding us accountable
to always remembering that.

            Boyhood reflects on the independent
experience of time. The sense of real time is heightened by multiple long takes
of Mason. It even shows how wrapped up our lives are due to technological
advancement; in which case is one way that dates movie along with music, and
other parts of television that was shown throughout the film. Director
Linklater furthers our expectation by reshaping the reality we think we see
before us. The purpose of this was not to see the changes in the person, but
rather in society.

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