lies in relative conjunction with the rest of aster's filmic vacuities, but this time, he seems to opt for echo-chamber self-reference over horribly stupid-cruel voyeurism, making for something marginally less insufferable, i guess? the film intends to project a nightmare of the personal, with the "shocking" (or perhaps just depressing) truths of self-insert protagonist beau wassermann being successively and rather tastelessly revealed in the ostensible hopes that one or two of these great sadnesses might strike a likely bored and…