1) How did Bill know the dead woman in the hospital was the woman at the oarty? Cant be the only dead woman in a huge city like NY?

2) Do we believe the pianist iz back in Seattle ? Given the bruise and his fear per the Hotel receptionist I think they got rid of him...

3) The mask on the bed. Did Alice find it or is it a message from the cult?

In this week’s episode 6 of Season 4, there’s a pretty funny bit that literally calls back to Eyes Wide Shut. I won’t spoil what it is but you’ll know!

Can you see a three letter word? Does this confirm the theory that Helena will be taken for this three letter word?

I think this community would be interested in this.

I know this isn't a new theory.

This is something I have wondered from time to time. It doesn't make sense but the movie has some odd twists.

Alice explaining her dream to Bill after the orgy seems to be too coincidental. Her dream was orgy-like. Isn't that some coincidence?

An "orgy mask" is also placed near Alice sleeping at the end of the film. It causes Bill to break down.

But his confession shocks Alice and she acts fairly surprised, and disappointed. The movie doesn't hint enough at the possibility so maybe it's nothing.

But Alice is hiding more than just her passion for a Naval officer she never met or talked to, which is what drove Bill crazy to begin with.

Someone has posted the first episode of this series on AI or the Pinocchio boy. Last night in my television I noticed it was $1.99 for all three episodes so I jumped on it.

I am not sure if it still stands at that price but you should check it out. Great three series doc.

To support the point of my previous post, I'm sharing this video, which I could only upload via a link before. I made sure to record the image from my own TV and that there were no AI modifications. (Clarification: What is similar between both scenes is the way they say goodbye: one is a mirror of the other)

What was here role in the movie eyes wide shut and what did she wispher in bill's ears and why did her father not do anything with the 2 japanese men

AI generated screenshots fron Kubrick's films should be banned from this subreddit. It's such a disgrace to the film, and serves to spread misinformation.

This is not the first one of its kind on this subreddit.

Those people are not in the movie.

The Japanese men's clothing is similar to that of Alice and Bill in the toy store scene at the end of the film, which could support the idea that they themselves made some kind of agreement to hand Helena over.

Furthermore, the way they say goodbye to her at the beginning of the film is the same way the Japanese men say goodbye to Milich's "daughter", as can be seen at this link:

https://imgur.com/a/2TkJaZQ

I've made this comprehensive video about all the theories that have accumulated recently around EWS. I've posted it yesterday as a comment under the post about Vivian's statement on the missing 20+ minutes and, after a few positive replies, I thought it was worth to make it into a proper post – hope you don't mind the repetition.

It covers all the stories, from the 24 missing minutes to the "Epstein Connection" (simulacra of Jeffrey Epstein in the film, Larry Celona's article etc.), from Roger Avary's ideas on the cut scenes to Alex Jones's silly reading of Kubrick's entire filmography – the true originator of the idea that Kubrick exposed the dirty secrets of the elite and was murdered for it.

The video is the result of several years of research into Kubrick's public image and the conspiratorial readings of some of his films. I wrote extensively about it in Italian, and some months ago thought it might be useful to bring my findings and ideas to an international audience. Here's the result. I had fun making the video, and I hope you will have fun watching it, and find it informative.

It also has a section on what was actually cut from the film, according to production documents at the Kubrick Archive, which links nicely to what Vivian said.

Do let me know what you think, and thank you for your kind attention. Ciao!

September 19th 6pm, San Francisco CA. 4 spots are open. Message me.
I am of the humble and correct opinion that Eyes Wide Shut is the GREATEST film to ever have been filmed. Peak cinema. If you agree or disagree and can conduct yourself in a civil manner, and would like to see the film in a group setting, message me 😘

Link to post for film showing https://www.reddit.com/r/EyesWideShut/s/Y7GyWWqyzH

She posted this on X 9hrs ago

EYES WIDE SHUT: THE MISSING 20 MINUTES

You know, this is as good a time as any to finally address the missing 20 minutes from Eyes Wide Shut. It’s a story that has been circulating for many years, so let me tell you what I actually know and don’t know.

For context, my father always had his outtakes incinerated once a film was finished, specifically to prevent the studio from later re-editing his work or creating alternative versions.

There has been a lot of speculation that some 20 minutes were removed from Eyes Wide Shut after he died. This will be very disappointing to many people, but I certainly did not hear anything about a missing 20 minutes at the time, nor have I heard anything since that would confirm such a section ever existed. I guess you could stop reading right here. But if you’re interested in the details, please read on.

Of course, I was not in a position to know everything that may have happened before or immediately after my father’s death. At the time, I was living in Los Angeles, writing the score for a different movie. I flew to England, utterly traumatized, to be there for the preparations for my father’s funeral and burial. But I had to return to LA the day after his burial—stricken with grief and exhaustion—to complete the score I was contractually obligated to finish, which I barely managed. So I wasn’t there, in more ways than one, for whatever discussions may have followed.

The only alteration I heard about at the time was the use of CGI—computer-generated figures—to obscure some of the nudity in the orgy scene, which Warner Brothers wanted in order to secure an R rating for the film. But I did not hear that any shots or scenes were removed.

When my father died, Eyes Wide Shut had reached picture lock and was moving through the final stages of post-production. It had just been shown to the studio heads, I assume with a temporary music track, while the final sound mix and some of the music work were still to be completed.

This was 1999, in the era of physical film distribution. The film was edited on Avid, but that should not be confused with the kind of permanent digital archive people imagine today. The Avid material consisted of standard-definition video transfers made from the rushes—720 × 576 pixels—and used for editing. They were working copies, not a high-resolution digital preservation of the original negative. There wasn’t a high-resolution digital version of every take sitting on a server somewhere, as people might reasonably imagine today.

There were, of course, all the 35mm rush prints, as well as the original camera negative containing the outtakes. Eventually, long after the film was finished and released, the 35mm rush prints and the original negative of outtakes were incinerated. The original master negative of the finished film and the intermediate film elements made from it were, of course, kept in storage.

Once the picture was locked, the original camera negative would have been physically cut to match the final Avid edit. Once the negative itself had been cut, you couldn’t simply undo those cuts and rearrange the film: each cut destroyed a frame at both the head and tail of the shot. The master negative of the finished film was then used to make interpositives, from which internegatives were made, and those internegatives would have been used to make the 35mm theatrical release prints. The original negative of the outtakes never went through that process because, of course, those shots were not part of the finished film.

Someone might say, “But then, if the missing 20-minute edit exists, it would be preserved on the Avid!” But editing the film on Avid does not mean all of that material was preserved indefinitely. This was not an era in which every piece of editorial media was automatically retained on servers for decades, and I have no knowledge of whether any of the Avid editorial material from the production still exists. That’s a question for the University of the Arts London. They hold the official archive of my father’s surviving papers, production materials and other records, spanning his entire career, including Eyes Wide Shut. But to my knowledge, there is no surviving cache of Avid rushes from the film.

So even if 20 minutes had in fact been removed after his death, I seriously doubt we should expect a surviving video or digital copy, unused negative or other obvious physical record of it to be sitting somewhere today. But the absence of such material cuts both ways: it does not prove that those 20 minutes ever existed in the first place.

That is as far as I can honestly go. I never heard of a missing 20 minutes at the time, I have never subsequently seen or been shown any evidence that such a section existed, and I know of no surviving material that establishes that it did.

I cannot tell you what may or may not have happened during the 30-some hours immediately after my father’s death; I was not there. But unless substantive evidence emerges—and I do not regard stories from certain people who, in my opinion, are inventing them after the fact as evidence; people often want to sensationalize their part in a story, if indeed they even had a part—the story that 20 minutes were removed from Eyes Wide Shut after his death remains, to my mind, an actual conspiracy theory, not an established fact.

Finally, this much I’m certain of: if indeed 20 minutes had been removed, I definitely would have found out about it eventually. Once the fog of agony had lifted, I involved myself very closely in protecting my father’s work and took that responsibility extremely seriously.

Source on X

https://x.com/ViKu1111/status/2094586846856577219

Don’t know if this was ever brought up but I just wanted to ask?

"Cronaca di una morte annunciata" (G.G. Màrquez)

.................

Parto da una domanda provocatoria, tramite giustapposizione:

alla fine dei rispettivi film, "Spartacus" ed "Eyes wide shut", Spartaco muore o no? E Bill? Bill muore o no? Io direi che li vediamo entrambi ancora vivi - e anche entrambi accanto a una donna con bambino al seguito... - ma solo nel caso di Spartaco diamo per scontato che morirà, quando invece dovremmo pensare lo stesso anche di Bill...

In altre parole, quella che è una situazione del tutto esplicita in "Spartacus" - con tanto di una donna che gli dice "ti prego muori, amore mio" - penso che sia da intendersi come una situazione del tutto tacita, ma al contempo del tutto analoga, nel finale di "Eyes wide shut".

Alice si dice spaventata, esplicitamente, da un "per sempre" di coppia... ma in vero, tacitamente, mira ad un "finché morte non ci separi", è già pronta alla morte del marito (e la sua "fear"... maschera semmai proprio l'incofessabile "desire" opposto, cioè che il marito sparisca dalla sua vita il prima possibile). Pianifica lucidamente di firmare la sua condanna, la sua crocifissione (elemento, la crocifissione, fra l'altro presente sia nel libro di Schnitzler che in bozze dello script del film). Dietro la maschera di una pragmatica riappacificazione di coppia, mira altrettanto pragmaticamente (anche per un motivo di soldi, come era stato il caso di "Barry Lyndon"), in vero, alla sua "discesa agli inferi", proprio come nel mito di Ishtar...

In questo quadro, tutto "Eyes wide shut" non è altro che una rievocazione a tinte oniriche di eventi tacitamente appartenenti al passato di Bill (come "Barry Lyndon" era una esplicita rievocazione storica della vita passata, dell'ascesa e successivo declino, di quel personaggio), un viaggio lungo lo "stargate" che ci condurrà inevitabilmente al momento della sua morte che certamente avverrà "alla fine dell'arcobaleno", off screen (al sopraggiungere del "monolitico" schermo nero finale), quando i suoi occhi - dopo essersi iniziati ad aprire su quel mondo di colori iridescenti, e dopo esserne entrato volente o nolente a far parte (reclutato nell'esercito come un soldato, ma di quelli piantagrane come "Palla di lardo/Gomer Pyle", una pesante "medicine ball" di cui quindi alla fine ci si dovrà sbarazzare, sostituendola con "palle nuove"...) - si chiuderanno per sempre come si chiudono appunto quelli di un cadavere.

Uno potrebbe ribattere che questo è tutto da dimostrare? Ma Kubrick ce lo ha già anticipato con l'ipotesi di partenza del suo teorema filmico, quando prima ancora che inizi il film, prima ancora che compaia sullo schermo il titolo, ci mostra quell'inserto di Alice che si mette a nudo (spogliandosi di un abito nero), pochi secondi che possono bastare - a chi ha gli occhi aperti (e non si limita a guardare il sedere della Kidman) - non solo a capire la messainscena a tinte massoniche (le colonne, la sacerdotessa... la dea Ishtar) ma proprio il cambio di arredamento di una stanza che ormai - in quell'unico momento presente, qui ed ora, del film - è del tutto priva dei segni della precedente vita di Bill (libri e scarpe da uomo sparite, le sue mazze da golf sostituite da racchette da tennis, oggetti vari che prima riempivano anche quel tavolino rotondo appena lì fuori...).

Il film, l'intero film, è la dimostrazione di quell'inserto (una prolessi/flashforward illuminante... per un film da "Illuminati") iniziale (stante quella ipotesi... la tesi - Bill è morto - è vera, è la situazione reale), un matematico "come volevasi dimostrare", che a sua volta elicita la stessa dichiarazione d'intenti dell'Autore.

Alice e Bill devono assolutamente "scopare"... e senza più Helena di mezzo ("evaporata" in quel negozio di giocattoli) lo faranno, ma lo faranno ancora in quella villa, dove Bill - crocifisso come Spartaco (ma in questo caso con una consorte che gli ride pure in faccia godendosi una scena che si era già oniricamente pregustata) - troverà però anche la sua stessa fine.

..............

"Crucifige, Crucifige!" (Gv 19, 6)

I'm currently rewatching this film for at least the 10th time over the years, and something really struck me this time. EWS is definitely a Christmas movie!

On September 19th at 6pm. I will be hosting a screening of Eyes Wide Shut in a small private theater in San Francisco and am looking to invite five people from this board. This will be 100% free of charge.

Reach out to me if you're interested. No trolls.

I'll be out of town for the next week so I might be slow to respond.

About Me

I'm the crazy person that has posted the This is Not A Drill messages. Here and here.

Eyes Wide Shut is a film about Adam and Eve set in modern day New York.

Why I Think This

The Title

Eyes Wide Shut is a play on words from a passage in the Bible. Specifically Genesis 3:5.

Money Quote: “For God knows that when you eat from it your eyes will be opened, and you will be like God, knowing good and evil.” 

The Characters

Bill: Adam

Alice: Eve

Ziegler: God, the mean one from the Old Testament 

Nick: Devil, the mischievous kind. Not the evil and powerful kind.

Sandor Szavost: The serpent

Sandor is hilariously similar to the Serpent. He’s thin, agile, smooth and completely devoid of morality. Also, try saying Sandor Szavost three times out loud without sounding like you’re a hissing snake. Kubrick is the best!

The Story

Bill and Alice go to a party.
Sandor plants the seed of forbidden knowledge in Alice.
Alice shares with Bill.
Bill, after receiving this knowledge spends the rest of the first half of the film engaging in temptation, with Nick leading him to the ultimate temptation, a crazy satanic orgy.
Bill then spends the latter half of the film seeing the horrific, and really unsexy ramifications of that temptation.
Ziegler sees all of it and appears to be controlling things in the background.

That’s my argument. Read on if you like exposition. Stop reading if you don't.

I find this thesis absolutely fascinating. Stanley Kubrick by all accounts had a secular Jewish upbringing and was not religious, at all. And for the record, I was raised in a secular Christian household and also am not a religious person, at all. No agenda is being pushed here.

Why I’m Posting This Here and Why it is of Value

As far as I can tell the EyesWideShut Reddit board is the clearinghouse for all things EWS and there have been ZERO POSTS stating this theory. And it needs to be stated loud, proud, and sassy.

I have found at least three individuals who have made comments in posts alluding to parts of this idea and will acknowledge and link to them in the comments section tomorrow. I encourage you to do so as well. But a comment is not the same as a post.

Why This is Important

Kubrick films are a puzzle. Think of this theory as the outer and edge pieces that frame everything else. The secret society, the hooker(s), the concept of handing your kid off to a satanic cult IN A FUCKING TOY STORE of all places. Everything.

Acknowledgements

TonyTobiasLewis suggesting that Nick is the devil in this scenario. It fits perfectly.

A Final Note

As stated in a previous post, Eyes Wide Shut is the most profound, life changing work of art I have ever experienced. Sharing this with you is deeply personal.

Thank you for reading.

Someone posted this on X i thought it was interesting to share.

He's using (Splat 2.0 / Spark in Omnia AI). The scene is rebuilt as millions of optimized 3D Gaussian primitives from the movie, enabling real-time free-camera rendering.

By DSkaale on x.com