Question:

What does the feather mean in S. DARKO?

Answer:

Though everyone is puzzled over the cryptic meaning of the feather, it is what apparently turns Samantha into her dead self at night when she sees it.

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S. DARKO Samantha

S. Darko: A Donnie Darko Tale is a 2009 theatrically released film directed by Chris Fisher and starring Daveigh Chase, Briana Evigan, and Ed Westwick. It is the sequel to the 2001 cult hit Donnie Darko. The film was released on DVD and Blu-ray Disc on May 12, 2009, in the United States, and on July 6, 2009, in Europe.

In 1995, Samantha Darko (Chase) follows her best friend Corey (Evigan) on a road trip from Virginia to California, in an attempt to become professional dancers. Their dreams are cut short when their car breaks down in a tiny Utah town. They are saved by the town bad boy, Randy (Westwick), who takes them to the local motel where they meet the conspiracy-loving owner. He tells them of Billy Moorcroft, a boy that went missing.

Samantha Feather
Art films

An art film (also known as art movie, specialty film, art house film, or in the collective sense as art cinema) is typically a serious, independent film aimed at a niche market rather than a mass market audience. An art film is "intended to be a serious artistic work, often experimental and not designed for mass appeal"; they are "made primarily for aesthetic reasons rather than commercial profit", and they contain "unconventional or highly symbolic content."

Film critics and film studies scholars typically define an "art film" using a "...canon of films and those formal qualities that mark them as different from mainstream Hollywood films", which includes, among other elements: a social realism style; an emphasis on the authorial expressiveness of the director; and a focus on the thoughts and dreams of characters, rather than presenting a clear, goal-driven story. Film scholar David Bordwell claims that "art cinema itself is a film genre, with its own distinct conventions."

Time travel is a common theme in science fiction and fantasy, and it has been depicted in a variety of media from prose fiction to television and other advertisements. It can be the central theme of the plot, or merely a plot device to set the story in motion. Whereas hard science fiction may examine the causes and effects of time travel paradoxes,]citation needed[ soft science fiction and science fantasy may ignore negative aspects and focus on fantastic wonders and adventures.]citation needed[

Sean Redmond regards the time travel motif as providing a "necessary distancing effect" which can allow science fiction to address contemporary issues in metaphorical ways, and valuable for providing a view of history where every person is significant.

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