In the movie called Matrix, people are invited to think through the concept of dreams, reality, and dreams. The rhetorics of the Islamic mysticism experts such as Mevlana, and Muhyiddin Ibn Arabi show parallelism with the theme of this kind of movie.
Hz. Mevlana said, “Consider figures in your dream as true; you have a bodiless body, do not be afraid to come out of the skin!.’’ This statement forms the primary theme in the movies such as Matrix, Inception, and Avatar.
if we want to know what lies in the mind, we have to access the deepest parts of the brain. According to Nolan, who is a character in the movie, it requires moving to the fourth dimension with the dream within a dream, even four intertwined dreams.
If we think of the thing is called ‘life’ as a kind of ‘dream’ or ‘simulation’, it is open to discuss the matter that our bodies or essential selves do not exist.
We are back into the movie Inception again. Whoever sees Cobb in their dream, the dream takes the form of that person. His dream also takes some form in this regard. No matter what is done, he can not get out of it. If the person who enters their dream is obsessive, odd shapes appear in that dream
If he can not forget his ex-wife, whatever his purpose is to enter the dream, it just comes to light. He encounters his wife’s different sensational variations in everything he does and everywhere he goes. The film matches Freud’s subconscious thesis with this aspect.
The idea film suggests is that we have to reach the deepest part of the brain to learn everything in the human mind. Therefore, according to Nolan, we can access the fourth dimension after the dream within a dream and four intertwined dreams.
The concept of dreams in the film is also relativistic. Leonardo Di Caprio and his friends have almost completed their lifetime in dreams during two-hour sleep time in the movie.
The relationship of the dream and the next level of existence are based on a similar awakening/death concept. Dying on a lower level means waking up on a higher level of reality.
A remarkable narrative in the film is that as they progress in an interwoven dream, the danger of having no return is described as ‘staying in limbo’.
Yalkin Tuncay
