The whole point of using machine learning to allow people to communicate with computers in natural languages is to get the machine to meet people on their terms, training the machine rather than the masses. Anybody should be able to get good results from it. If you have to trick it to get the most straightforward result, it hasn't met its goal yet. In order for this technology to have value beyond novelty, you have to be able to get something useful done with it in less time than it would have taken you without it.

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Title: "The Poetics of Theft"

The film opens with a montage of shots showing the passage of time and the changing cityscape, over which a voiceover from Garret introduces his philosophy of thievery.

Throughout the film, we follow Garret as he carries out a series of heists, each one more personal and introspective than the last. The film is shot in a highly lyrical and atmospheric manner, with a focus on mood and atmosphere, and the use of long takes and slow camera movements.

Garret is a solitary figure, driven by a sense of purpose and a desire to understand the meaning behind his crimes. He is introspective and philosophical, always seeking to understand the motivations behind his actions.

As the film progresses, Garret becomes increasingly drawn into his own world, until he is finally consumed by his own obsession with the poetics of theft. He begins to question the morality of his actions, and to seek redemption for his crimes.

In the end, Garret finds himself standing before the objects of his final heist, with a sense of emptiness and a longing for something more. The film ends with a shot of Garret, standing amidst the ruins of the city, with a look of contemplation and regret.

The film is a meditation on identity, purpose, and the search for meaning, told in the style of Andrei Tarkovsky. It is a slow, dreamlike film, full of introspection, atmosphere, and visual poetry, that asks the question: What is the meaning of our actions, and can we find redemption for our crimes?