The fiercest comedy ever made about Europe's invasion of North America, set at the millenium turnover, Kubrick steals Woody Allen's genre and landscape and piles on the droll for a response to his alternate future in A Clockwork Orange. Initially imagined for Steve Martin and Diane Keaton, EWS acquires other metaphors with its Cruise/Kidman-ization, who allow him to blend his original idea with Cruise's archetype's fallen idol narrative. C-K appear at first to have won the wrestling match. Between these two scenes below Dr. Bill Harford (Harvard) will visit a dead body named Lou Nathanson, where in a green room with a christmas tree, a woman will attempt seduction over her father's dead body. Far from a fetish experience, EWS is proof film is the borderline between the unconscious and the conscious.

Clues are endless (this entry has ten) yet the decryption is quite simple. Too simple. The link above is a deeper penetration.