It's reasonable to describe that the most beautiful moments in life are, in fact, composed by a collectiveness of unique perspectives surrounding a topic. Or a moment. Capra's debut work as a director is a straight shot in the analytical sense, which may or may not be the reason for the name "Mindwalk". Ms. Ullmann character — the key point of the movie, I shall admit — displays herself as a perspective collectioner; unraveler of mysteries; a somewhat visionary and abrangent thinker which revolves the sphere of life towards the Theory of Systems. But the best comes when Mr. Byars, screenplay responsible, isn't afraid to insert an epistemological atmosphere to raise the relevance of the discussion between the characters: in the start, in the development, and more remarkably, in the conclusion.

The relevance of the topic, which is subliminally abrangent, is sufficient to consolidate the movie's consistent dialogue as own strenght. It's weakness, is how it tells, and tells, and tells... Funny it is to read a review from The New York Times back in 1992 that says “Though Mindwalk is better read than said, it will have done its job if it stirs people whose list of unopened books reaches from here to Philadelphia”. Surprisingly, it has.