The only way I can think to describe Megane is “a movie for B-type personalities”. It ambles along at a pace that – to the outside observer – seems foreign, but somehow fascinating. Other than that, it’s hard to pin down. The film builds its own internal language of keywords and signs, yet offers the viewer no interpretation or meaning, remaining neutral. The meaning, of course, is that there is none: things like signs and symbols, even when presented with the intricacy seen in the likes of Megane, are meaningless.