The most embarrassing part of the film is that the new problem posed by simulation is confused with its classical, Platonic treatment ... The Matrix is surely the kind of film about the matrix that the matrix would have been able to produce.

Every woman is like a time-zone. She is a nocturnal fragment of your journey. She brings you unflaggingly closer to the next night.

Disneyland is presented as imaginary in order to make us believe that the rest is real.

For the heavenly fire no longer strikes depraved cities, it is rather the lens which cuts through ordinary reality like a laser, putting it to death.

It is not enough for theory to describe and analyze, it must itself be an event in the universe it describes.

Every photographed object is merely the trace left behind by the disappearance of all the rest. It is an almost perfect crime, an almost total resolution of the world, which merely leave the illusion of a particular object shining forth, the image of which then becomes an impenetrable enigma.

We are no longer dealing with historical events, but with places of collapse.