Schizopolis 1997

Although the film lacks a linear storyline, it does present an intricate structure that relays the same tale from three distinct viewpoints. At the outset, Soderbergh addresses the audience in a manner reminiscent of Cecil B. DeMille’s introduction to The Ten Commandments.

Fletcher Munson is an office worker under the leadership of Theodore Azimuth Schwitters, the head of a self-help organization known as Eventualism. The first segment of the film offers insight from Fletcher’s perspective, highlighting his ability to detect the deeper significance in various situations. He becomes increasingly focused on meaning rather than mere words, leading to a growing disconnect from those around him. This culminates in a tense home environment where Fletcher communicates with his wife by interpreting their conversations. Following the death of his co-worker Lester Richards, Fletcher takes over his role as a speechwriter, which unfortunately deteriorates his personal life. As Fletcher withdraws from his wife, she turns to infidelity as a coping mechanism.

In parallel, we encounter Elmo Oxygen, an exterminator who traverses from home to home, engaging in affairs with the wives of those who work for Schwitters. He captures explicit images of himself using the cameras found at these residences, while conversing with the women in a bizarre, coded language. Fletcher’s life takes a surreal turn when he discovers that his car key doesn’t work; upon investigation, he finds that his actual vehicle is merely a short distance away, identical to the one he attempted to enter. Just as he prepares to enter his own car, he witnesses a man—his exact double—get inside. Fletcher follows this doppelgänger to his home, closes his eyes, and inexplicably becomes him.

The narrative then shifts to Fletcher’s doppelgänger, Dr. Jeffrey Korchek, a dentist who is characterized by his distinctive jogging suit and his fondness for Muzak. Not only is he the secret lover of Fletcher’s wife, but he also encourages her to leave Fletcher for him.

The following morning, Korchek has breakfast with his brother, who is battling heroin addiction. Despite his brother’s pleas for financial assistance and shelter, Korchek admonishes him to steer clear of drug dealers, asserting that he has access to drugs. At work, he encounters Attractive Woman Number 2, who resembles Mrs. Munson. Instantly smitten, Korchek confesses his feelings in a letter. Upon returning home, he confronts the harsh reality that Mrs. Munson has left Fletcher and acknowledges his own infatuation.

The next day, Korchek’s life spirals as he faces unexpected consequences, including a contentious interaction that revolves around the phrase, “Your brother, eight hours, fifteen thousand dollars.” His day takes a darker turn when he opens a letter revealing that Attractive Woman Number 2 is filing a sexual harassment suit against him, and learns that his brother has stolen his money. Eventually, he leaves work only to be shot dead. Meanwhile, Elmo encounters a couple urging him to abandon his role to pursue stardom in an action show, marking a shift in Elmo’s timeline unlike the others.

The story then retells events through the eyes of Mrs. Munson, capturing her journey as a mother intertwined with her relationships with both Fletcher and Dr. Korchek. While the events remain consistent, the dialogues are rendered in a nonsensical manner akin to the previous generic phrases. Following her departure from Korchek, Mrs. Munson reconciles with Fletcher, and they return home together. Fletcher completes Schwitters’ speech, leading to Schwitters delivering an impassioned oration. Just as he receives applause with a simple “Thank you,” Elmo bursts in and shoots Schwitters in the shoulder. While Schwitters survives the ordeal, Elmo is apprehended and faces interrogation.

Moving to a shopping mall, Fletcher provides a reflection on the remainder of his life. Later, Soderbergh reappears before a blank screen, inquiring if the audience has any questions. After dispelling several inquiries, he exits the stage as the camera pans out, revealing he has been addressing an empty auditorium. The film notably lacks both opening and closing credits. A man dressed solely in a black T-shirt is seen at the beginning and end, chased by white-coated figures through a field. Initially, the shirt displays the film’s title, later transitioning to the phrase, “The End.”