Structural Misconceptions

“Why It's Not Just A Style”

Many mistake Auntrolye for a psychological thriller, surrealist drama, or experimental cinema. 

It’s an understandable error, even the genre's creator first believed he was making something within those boundaries. But Auntrolye is not simply styled to appear internal; it is built from internally. This distinction is not semantic, it is structural.

In conventional cinema, we witness a disturbed mind from a safe vantage point. The character is presented, and the film interprets. In Auntrolye, no such translation occurs. The film is not about the mind, it is the mind. There is no omniscient authority to correct the viewer, no formal reveal to separate illusion from reality. The character’s perception is not distorted, it is law. Auntrolye refuses to simulate breakdown. It functions by embodying it.

This is not genre fusion. It’s not visual eccentricity. Mood does not define Auntrolye, causal logic does. Where traditional films depict a world influenced by emotion, Auntrolye constructs the world out of emotion. Emotions do not merely color scenes, they reorder them. They dislocate cause and effect. They rewrite space. Not as an aesthetic, but as narrative infrastructure.

“To confuse Auntrolye with style is to confuse paint with architecture.”

— David Cataraga

A stylistic film may suggest fragmentation through lens choices or nonlinear edits. Auntrolye requires that fragmentation be logically justified within the emotional reasoning of the character. The character is not framed. The character is the frame.

In short: Auntrolye is not confusing to be edgy. It is disorienting because its logic flows from a character whose worldview cannot be dismissed, and because of that, neither can the film.