By showing as the final image of GONE GIRL a mere variation of its first Fincher also seems to comment on digital cinema as such. Opening and ending can be regarded as a simile of the unstable electronic image which, as Yvonne Spielmann puts it, „is best understood as transformation image“ since it only consists in a constant flow of signals.
It took a whole film for the subtle transformation between opening and final image. The two shots of Rosamund Pike are like one morphing digital image with a refresh rate of 2 hours, 23 minutes and 44 seconds. And what we can say about the disappearing and reappearing female protagonist of Fincher’s crime story may also serve as a paradox motto for the ambivalent digital medium per se:
She was never gone.
She was never here.
See also: https://schnittstellen.me/vortrag/immanenz-hochauflosend-high-definition-undals-entstellung/