Paris, Texas: Not Just a Road Movie, But a World-Building Exercise?

Okay, sci-fi nerds might be scratching their heads – Paris, Texas? What's a Wim Wenders flick doing here? But hear me out. I've been rewatching it, and something struck me: even though it's grounded in reality, the whole film is a subtle exercise in constructing a lost world, a fractured backstory that's revealed piece by piece. It's not about aliens or spaceships, but it's about creating a believable, tangible past that haunts the present. Travis Henderson is like an amnesiac explorer stumbling into a foreign land – which IS his own life, kinda. Think about it. We only get snippets of Travis's world before he disappeared. The iconic Super 8 films are like recovered data logs, distorted memories playing out. The peep show booths, the empty landscapes, even the specific choices in wardrobe – they all contribute to building this lost frontier of his relationship with Jane. It's almost like Wenders is a DM slowly revealing the lore of a tabletop RPG campaign, and we're the players trying to piece it together. We're trying to understand the rules of this strange game. I almost wanna say that Harry Dean Stanton's performance is as if he's playing an alien whose ship crashed on earth and doesn't know what to do. And that final conversation, the one through the one-way mirror? That's the final boss battle in terms of world-building exposition. It's heartbreaking, yeah, but it's also the moment where the entire backstory solidifies. We finally understand the motivations of everyone involved, and the tragic consequences of their choices. We understand their "world" and why it had to collapse. So, yeah, Paris, Texas. Not your typical sci-fi recommendation, but if you're into world-building, give it a shot. It's a masterclass in creating a tangible, believable past, even without resorting to traditional genre tropes. Am I off base here or do you guys see where I'm going with this?