Georg: It was cold. The Mistral. He was tired. Nobody looked at him. That's the terrible thing. Not that she's your dirty face staring at the torn clothes.The terrible thing is that they are you do not see that you are not there.
Georg: Then he thought, 'This is Marseille.' A port city. Port cities are cities, in which is told. That's what they're there for. And these people have the right to tell and that you listen inside.
Georg: The song did not want to get out of his mind. Everything is dreaming. And everything is exchanged. Back in life again. The evening is already sitting on our house
Georg: Their eyes met. For a long moment they looked at each other. Then they lowered their eyes. He knew what everyone was talking about and let go: It was the shame. They were ashamed. Shamed terribly.
Georg: The next day he picked up Driss. That led him to one dusty fairground by the sea.
Marie: Who forgets faster, the Abandoned or the one who left him?
Marie: The Forsaken never forget, you say. But that's not true. They have the beautiful, sad songs. With them is the compassion. Those who leave, there is nobody with them.They do not have songs.
Georg: A man had died. He was to register in hell. He waited in front of a large door. He waited a day, two. He waited weeks. Months. Then years. Finally a man walked past him. The man waiting addressed him: Perhaps you can help me, I'm supposed to register in hell. The other man looks him up and down, says: But sir, this here is hell.

Transit Quotes

Extended Reading

Transit short comments

Nikita 2022-04-21 09:03:53

The ingenious creation that integrates the escape story of World War II with the elements of contemporary refugees, and puts it into the contemporary context to repackage and tell the ingenious creation, the Great Cleansing, Marseilles, refugees, identity replacement, and erratic women, even though the story itself is full of all kinds of strange love and blood, but However, the film is full of literary atmosphere, filled with melancholy beauty, and the importance of narration is self-evident. Comparing the history and the present, there are some amazing similarities. The illusion and reality are already indistinguishable. (70)
Dana 2022-04-20 09:03:00

In the half-new world, I met you/you. In addition to talking about the "half-new" of the German occupation of France in the refugee issue in modern France, the details always converge (plastic syringes in the old iron box, listening to the phonograph-like "Bat" prelude on the trampoline... ) under various parallel dislocations, everything is between transitions and in-betweens (such as the film title transit), people and people, people and things are shadowed: the setting of two layers of time and space, the replacement/acting/even internalization of identity, the other Occasional staggering caused by the superposition of a layer of fiction (the difference between the text and the image of the narration, and even the thick scribbles that overlap each other), until the end, the meeting of the beginning/end (life/soul) - that look back, like we The audience also acts as a follow-up creator, and the eyes are misplaced and twisted for a moment. But only for this moment. The love between men and women before Qingcheng was based on love, and they used the same emotion to illuminate similar corners in different time and space. They all confuse the boundaries of time and space and cannot be distracted. But in other words, it's not emotions that shake the world, it's the world that keeps changing us. Looking back at the inevitable distortion of vision, but not the effort that will eventually dilute the world