Much like The Matrix, released only a few weeks prior in the spring of 1999, David Cronenberg’s eXistenZ plays with the question of whether we really inhabit the reality we think we inhabit. But whereas The Matrix posits systemic and structural forces keeping subjects in the dark, eXistenZ presents a more realistic version of our potential subjection to a simulated reality.
In Patricia Highsmith’s The Talented Mr. Ripley, Dickie doesn’t love Marge. Or at least, Dickie doesn’t say he loves Marge. In Anthony Minghella’s film of the same name, Marge is loved—maybe, probably, or at least she believes herself to be loved.