Kenneth the Anger: at The Power of the I Believe in by Will.
GN: the Do you Believe in the any kind of god?
KA:. No, in at The Power of by Will
After reading this will be the same black Together, Swan and Inception have become my 2010 top3. Putting these three films together is because they have a common feature that I admire: they have realized a theme full of exploration possibilities in the film during the long-term brewing. Darren was interested in his younger sister's ballet class when he was young, and in 2000 discussed the concept of the film with Portman. After several funding problems, his later words were: "Ten years, I feel that this period has allowed me to grow a lot. It is precisely because of the experience and foundation of shooting that I can shoot this film well. If that was the case at the time. The filming has started, maybe this movie will be very naive and superficial." Nolan started thinking about dreams when he was 16 years old, and planned for the Warner Bro. film in 2001, and then completed the first draft of the script. After considering the required grand scene scheduling, he resolutely took over the Batman series to practice hands. Noe began to write scripts in the early 1990s. During these years, he refused to reject many major European productions. In addition to technical training, "Inevitable" was compared to a bank robbing for the realization of the film. When I interviewed idol Kenneth Anger in Noe’s youth, I asked Anger what he believed. Anger said, "The power of the will." For Noe, you can do some things for money, but do other things just because you believe it. To create dreams under realistic conditions under realistic conditions, I believe not only in the maturity of the whole and the details brought by ten years of sharpening a sword, but also the will to explore the verbal possibilities of these themes and shots.
This film is like a three-faced beast, and together they pioneered the POV lens, hallucinogenic experience, and the death of the soul. Nakedness and heavy taste are pure life in it, and the plot is just a setting. The narrative clue is simply a large flashback in the middle, followed by some earlier flashbacks. One thing that is very similar to inception in the structure of the film is that the film sets the rules of the game and then starts to play. In the corridor, Alex's comment about "Tibetan Sutra of Death" is the rule setting, which is exactly the same as the following plot. Understand these words, or read a little bit about Bardo (bardo) in Buddhism, especially the meaning of "light" to the bardo soul, so that you can undoubtedly better understand the passage and wandering of the soul afterwards, and understand every time The camera shakes, flips, flickers, and the intensely changing light and shadow belong to this soul's emotions. This silent subjective scene has become the emotional dark line of the story. The anger, attachment, pain, mania, and the possibility of leaving and turning into something every time you walk through, but struggling to return due to these dependencies, are hidden in the extreme light. Effects and lens movement. Even in this sense, the film is already a metafilm about film language. On the other hand, the film simplifies the character dialogue to the easiest to understand, and the lens language completely dominates. Noe’s reason for choosing a actor who has never acted in a movie is that not many actors are willing to show up only two or three times in the whole show, and Nathaniel Brown’s ideal is to be a director. This angle will excite him.
This trip is subjective lens drift from start to finish, which reminds me of "Russian Ark". In particular, for this constantly fierce and heavy-mouthed film, one has to hold the mentality of watching literary and artistic films. There is no problem with the editing of the film, and there is a clear idea in the dizziness. This is not a narrative film. As mentioned above, POV itself is an experience rather than a means. This long journey even needs enough time to pile up, to look back on the past life, to watch the cold body, the ashes in the fire, the last trace of disappearing in the dark waterway, hovering badly and unable to leave. The powerful camera journey of nearly three hours did not make me pause or glance at the time (my cramped personal studio is best for watching psychedelic images), and my mind will be busy thinking and admiring. The three different perspectives of POV clearly separate memories, present and wandering souls, separate time periods, narratives, and separate philosophical meanings of viewing. The different kinds of actions, cities, and porn presented by the change of perspective can always be understood by those who see it. And this is really a great work about cities and porn. And Noe's ambitions for pornography will continue.
Void can be understood as Bardo, nothingness that has nothing to attach to and powerless. It can be a bar that leads to the abyss of misery. It can be the brilliant emptying brought by DMT. Through the all phenomena presented from the perspective of imaginary, void is of course this heavenly or hell-like world. After each viewer was blinded by the sturdy film title, they agreed to enter this psychedelic realm of dizziness, nausea, or tears. I was dizzy and nauseous while tearing down my face. And the final exit is the entrance, simple and straightforward. Then did your Apiao start to spin around behind him and on the ceiling a few times?
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