在电影“生命之Ang”里，电影的关键主角是踏上自我发现之旅。这个旅程带来了个人本质的最大增长。这个故事叙述了一个男孩从童年时代开始的仪式（Mandich 119）。这部电影探索了这些主角所做出的发现的个人价格。关键在于他们应该承受最大的痛苦，孤立和无辜的损失，以发现自己在主要生活画面中的地位。这部电影的结构描绘了在最大的喜悦和最大的痛苦之间波动的磨难。另一方面，丕是一个人，当他在家庭的舒适区时，不能自由地发现自己的自我。这样做，他就不能体验童年时代的礼仪，因为处在他的舒适地带。舒适区不会让他探索分享Pi环境的后果和困境（Archard 33）。当Tsimtsum下沉的时候，它将Pi投到活着的海洋中，在那里他应该注意自己的自我。他头部的空中射击，在广袤的海洋中渺小。这描绘了Pi的脆弱性，因为他是漂泊的。当暴风雨来临时，他以强有力的方式描绘了他强烈的自然痛苦。在这个场景中，更宽的镜头再次描绘了狂野的海洋脆弱性和像基督一样的形象描绘丕在恳求中传播武器尖叫在主（但以理书4）。
In the film by Ang Lee, Life of Pi, the key protagonist in the film is made to embark over a self-discovery journey. This journey results in maximum growth of personal nature. The story narrates a boy’s rite of passage from childhood (Mandich 119). The movie explores the individual price of the discoveries that these protagonists make. The key reason is that they should embark over enduring maximum suffering, isolation and the innocence loss so as to discover his self and his position in the major life picture. The film has been structured to depict ordeals which fluctuate between maximum joy and maximum suffering. On the other hand, Pi is someone who cannot be freed for discovering his own self while he is present within his family’s comfort zone. In doing so, he cannot experience childhood’s rites of passage at all because of being in his comfort zone. The comfort zone does not let him explore the consequences and dilemmas that partake the environment of Pi (Archard 33). When the Tsimtsum sinks, it casts Pi within the ocean of living where he should look out for his own self. His head’s aerial shot, dwarfed through the vast ocean. This depicts Pi’s vulnerability as he is made to adrift. His suffering of intense nature is depicted in the most powerful manner when the scene of the storm comes into being. In this scene, wider shots again depict wild sea vulnerability and imagery like Christ depicts Pi to be screaming at Lord with arms spread within supplication (Daniel 4).