a four-dimensionalist view of the nature and existence of life in the universe, with each decision branching off to create an entirely separate alternate universe. Mr. Nobody raises many ontological arguments about the subjective nature of time and investigates how actions have universal consequences, and how every single choice, irrespective of its simplicity or complexity, can make, alter, or change a lifetime. The film also makes substantial use of chaos theory, string theory, and the butterfly effect to accentuate the lack of control that humans, as individuals, possess. There are numerous scenes, at each stage of his life, where Nemo is subject to the whims of chance, often plunging into water, a place where humans lack control, as a visual symbol of the powerlessness attributed to the human condition. The theories are used to compound reality in the film, a reality in which time always moves in one direction—the smoke never goes back into the cigarette. Then, at the end, when it seems the universe is on the precipice of ultimate chaos, making use of the Big Crunch theory, time halts and begins to reverse. This brings the freedom from choice Nemo had been seeking, for, as Nemo says in the film, "as long as you don't choose, everything remains possible." The tale of Nemo Nobody reflects a life of choices, whether or not we made the correct choices, and what would happen if we could go back and change them. In the end, Mr. Nobody, at age 118, states that it doesn't matter what we choose, because each choice, once made, has just as much significance as any alternate choice would have. The film portrays a life where we are all subject to chance, the dimensions by which we construct our reality (height, length, width, and time), and the imagination of our former selves, and, once the boy Nemo knows the outcome of a given choice, he instinctively opts for another. The different colors used in the film have symbolic meanings. Each of the three main storylines has its own unique hue that highlights its originality and unlikeness to the others. The color differentiation can be traced as far back as Nemo's childhood, where his possible future wives, Jean, Elise, and Anna, sit on a bench, wearing yellow, blue, and red dresses, respectively. In his life with Jean, Nemo seeks material well-being and independence, and yellow—the color of life