Argentines who are unrestrained and unrestrained have never lived up to the rights given by God. They laugh happily, cry happily, scold unabashedly, and anger solemnly. Like Argentine football with great style, they have evolved into emotional sensors. , launching joy again and again, venting sorrow again and again, that kind of carnival-style footwork is natural for Argentines, and similarly, this kind of straightforward, happy and grudge game is also used in the film " Savage Tales".
"Wild Tales" premiered in the main competition unit of the 2014 Cannes Film Festival. Because of its hearty viewing experience, it was also dazzling in Cannes, and was nominated for the Oscar for Best Foreign Language Film. At the just past Beijing Film Festival, It's also hard to get a vote. The film is a collaboration between Argentinian genius director Damian and Spanish national treasure director Almodovar, showing a look of laughter and tears. This is a well-made kaleidoscope, but it is inseparable from it. No matter how gorgeous the colors are, they are also composed of red, yellow and blue. Angry; yellow is Damian's pain for his hometown, warming and boiling with the dazzling sun; blue is the wind that Almodóvar wrapped up from the Mediterranean Sea, which wets the dust on the land of South America with water vapor, It cooled the temperature of this hot and dry soil, and it also reduced the anger of the people here, and let out a bad breath.
"Savage Tales" is classified as a violent black revenge comedy, strung together six seemingly unrelated stories along the revenge-confrontation-self-inflicted choreography. The camera is like a protagonist, hiding behind the lens, overlooking the strange things in South America from an omniscient angle. Similar to the label of Latin American literature, this film also has a little more extreme and out of control color, which makes a scene. A vision that exists in fantasy.
The protagonist of the first story is a LOSER who has been defeated repeatedly. He invited his former teacher, attending doctor, girlfriend, and former colleague to take the same flight to go on a revenge journey in the air. In the second story, the waitress at the restaurant met her family’s foe again, and the mysterious chef’s anger was fulfilled; in the third story, two people with deep road rage died together on the outskirts of Buenos Aires; In the fourth story, a pretentious blasting engineer detonated the scene of the tow truck because of an unacceptable ticket; in the fifth story, the second generation of the rich drunk and drove people and ran away. In the sixth story, the bride saw the groom and his ex openly flirting with each other and made a big noise at the wedding scene.
Somewhere, there is a primal and impulsive force dormant here, these South American absurdities, or the "loneliness of Latin America" in Marquez's writings, are just the common reality of Argentines.
When this kind of truth is deduced by the eccentric and bizarre South American style, it is shot by Damian with a calm and wise wit, coupled with Almodovar, who is obsessed with bullfighting and flamenco. In this film, the audience can happily enjoy the skillful use of lighting, pictures, soundtracks and action scenes. "Wild Story" is technically an addition, but it is never boring. Such additions make this film changeable. It has to be fun and exciting.
The first wave of excitement comes from the usual opening + fantasy plot. In the story of hijacking and revenge, the protagonist has transformed into a camera, never showing up, looking at the people he arranged into the plane with anger and resentment. People came out in a very interesting way, starting with his ex-judge approaching his ex-girlfriend and talking about him, and everyone who didn't know each other in the cabin opened up the conversation because of him. After he coerced the captain, the men he hated stood outside the cockpit pleading and repenting. At this point, the camera captured a smirk, and Latin American stories never lacked drama. In just ten minutes, all the arrogant people turned into low-pitched ones, all stemming from the prank he made behind the camera, like Sartre's "Confinement", Zhang Ailing's "Blockade", in a sealed time and space, Any change of circumstances will bring about a complete reversal of the story.
The charm of art works is that they can be condensed and deformed, so that what you expect, hope, imagine, or scenes that you can't bear to face or imagine, appear in front of you without any cost.
The second wave of excitement comes from the story of the absurd wedding. The same angry camera changed to a cynical angle. The director's ambition broke out in the last story. In the first four stories, the protagonists ranged from small people to middle-class people. From the fifth story, they bombarded the rich. It can be seen that the director The impatience with reality has reached the extreme. At this time, the director has become the spokesperson of the audience, watching the wedding party of the rich, playing the old-world European court's way of communication, Strauss' "Blue Danube" as the wedding dance music , instantly boosted the scheming of the soundtrack. When you start to envy, the director tore off the mask, and the camera was instantly pushed in front of him. The two newcomers, accompanied by waltzes, dealt with dance steps and criticized each other. The arrogant and domineering bride, with the attitude of a good life, ran to the rooftop to fight with the chef, and intimidated the groom under the shadow of the midnight stars and the glowing concrete jungle. In the eyes of the rich haters, what a hate-relieving scene. Because this film stabs everyone's weakness mercilessly, at first glance it looks like a live news broadcast on a city channel, but the truth is far more shocking than that.
"Wild Stories" in the modern civilized city tore off the coats of those beasts in disguise.
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