I think in art, but especially in films, people are trying to confirm their own existences.

Taken at face value, the remark treats art—film in particular—as a kind of existential proof. Viewers and makers seek themselves in images and narratives: to see their feelings mirrored, their experiences validated, and their lives rendered “real” through representation. The emphasis on film suggests a modern medium uniquely suited to this function because it records bodies, voices, and time, offering a vivid simulation of presence. In that sense, cinema becomes a ritual of self-recognition: we watch to reassure ourselves that we are here, that our inner life has a counterpart in the world, and that our fleeting existence can be fixed—if only temporarily—into a story or an image.