The film’s antagonism was not violent. It was paperwork, it was regulation, it was an insurance company that insisted on a tidy inventory of recognized species. Its enforcers were men in three-piece suits with keys that opened not doors but archives; they catalogued wonder into spreadsheets. They offered "protection" while draining the life out of the very things they promised to keep. Their primary offense was not theft but classification—making lived mystery into a line item.

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