<P> As in his previous film, π, Aronofsky uses montages of extremely short shots throughout the film (sometimes termed a hip hop montage). While an average 100 - minute film has 600 to 700 cuts, Requiem features more than 2,000 . Split - screen is used extensively, along with extremely tight closeups . Long tracking shots (including those shot with an apparatus strapping a camera to an actor, called the Snorricam) and time - lapse photography are also prominent stylistic devices . </P> <P> To portray the shift from the objective, community - based narrative to the subjective, isolated state of the characters' perspectives, Aronofsky alternates between extreme closeups and extreme distance from the action and intercuts reality with a character's fantasy . Aronofsky aims to subjectivize emotion, and the effect of his stylistic choices is personalization rather than alienation . The camera serves as a vehicle for exploring the characters' states of mind, hallucinations, visual distortions, and corrupted sense of time . </P> <P> The film's distancing itself from empathy is structurally advanced by the use of intertitles (Summer, Fall, Winter), marking the temporal progress of addiction . The average scene length shortens as the film progresses (beginning around 90 seconds to two minutes) until the movie's climactic scenes, which are cut together very rapidly (many changes per second) and are accompanied by a score which increases in intensity accordingly . After the climax, there is a short period of serenity, during which idyllic dreams of what may have been are juxtaposed with portraits of the four shattered lives . </P> <P> Requiem for a Dream premiered at the 2000 Cannes Film Festival on May 14, 2000 and the 2000 Toronto International Film Festival on September 13 before a wide release on October 27 . </P>

What happens in the end of requiem for a dream