She seeks universalism. Not only in the people, not only in the characters she shows.
The world where no communication takes place, where speechless characters are waiting for a flight to Dulpokanova, this world is a universal one.
As already mentioned, Yu Miao doesn´t seek universalism in terms of Kant. Rather in terms of anthropology. She seeks artifacts, for architecture, for that magical something that is common to us all. And she finds it. The silent world is our world. It´s a human world. And a world constructed by us. By humans.
In this sense, Dulpokanova would be a kind of horizontal Mnemosyne, in which Yu Miao explores what an international, I don’t want to say “impersonal”, but kind of true, style looks like.
In the film, the characters, three young women (but food also plays an important role, language, the alphabet, etc.) move in a silent space that we… yes, would call international, but mean, again, universal. Which is very clean… Almost like a Zen garden. Empty. And full of people. Speechless. This is the world we are in. Without which the being is not.