"Happiness does not teach us anything, but pain, suffering and obstacles can transform us, make us better and stronger, and at the same time make us realize that we live in the present moment. It’s very important.” (From Marina Abramovich)
It seems that in order to achieve a certain mental growth, or to regain the confidence of the past from sudden disasters, the French film De rouille et d'os)" relentlessly gave the hero and the hero a painful trial. Fortunately, they all passed the test after a lot of cuts and bruises. This is better than those who have also experienced the pain of life but always get nothing, and thus suffer in vain. People are lucky.
Undoubtedly, the director Jacques Oudiya tried to tell a good story, so he patiently created some powerful details, and silently reflected the transforming power of suffering in subtleties. For the sensitive heroine Stephanie, she used to be glamorous, noble, confident and beautiful. After the "whale kiss", she must accept her imperfect self and gain the long-lost self-confidence and fighting spirit in her future life. The transformation here, She came bitter and long. For the blunt male protagonist Ali, his transformation was longer but ultimately violent, because otherwise he could not activate his unresponsible naughty mind. For most of the time in the film, he was ignorant. He survived only by his primitive and reckless nature. When he slammed on the ice with his fists, and when he ran wild with the child in his arms, the transformation finally fermented after a long incubation period, and finally he waited on the corridor in the hospital. Finish. How many roads a man has to walk to become a man is difficult to estimate. Only at the moment of qualitative change, the sudden sense of suffocation will tell you that it is just a moment to grow up.
Although the film pays attention to details, there is no sense of procrastination in the rhythm. Jacques Oudiya really seems to be a director who is good at narrative. Those intriguing plots and seemingly faithful images make the combination of beginning, inheritance and transformation appear naturally. This kind of erratic sensation seems to indicate a certain uncertainty, and it seems to indicate that being alive is an adventure, such as the scene of Stephanie standing by the pool and training the killer whale before the tragedy, a bit dizzy and a bit trance. , As if laziness and dizziness before drinking. Another example is Ali playing with Sam on the ice. The beautiful scenery of the surrounding snow makes the picture full of desolate and cold beauty, as well as a sense of silence and emptiness, as if the tranquility that was caught off guard.
The film does not evade or soften the death of beauty and the advent of doom, nor does it use cheap sympathy to "poor" the people in the film. Its perspective is always equal, and this narrative attitude is worthy of recognition. Because in the face of misfortune in life, there are not many directors who can be neither sad nor sensational. In the face of the disaster, the film chose to face it directly, such as its lens directly aimed at the amputated legs, including the unsatisfactory cross-section that was initially restored, even in the sex scenes, it does not avoid this incompleteness.
In the film, Stephanie puts on the prosthesis, the changes in her clothes seem to be very meaningful. The transformation process from loose trousers to sexy short skirts seems to reflect the process of her inner building, like rammed earth, every time she accepts heavy weight Hit, the soil layer will be firmer. However, no matter how solid the inner building is in the face of love, it also loses its power. When Ali accepted another woman’s invitation to leave, Stephanie was deeply captured by her inferiority complex, as if she was no longer as cool as a mechanical warrior at the moment. When she appeared in public, Marion Cotillard was very good at this psychological scene. The subtle changes in her expression at that moment, the injury and loneliness in her eyes, and the gentle shaking of her eyelashes all made the audience feel empathetic to her inner world. . Matthias Schnell, who is eye-catching because of the "Stubborn", is also a suitable candidate to play Ali. His eyes and body language always convey Ali's mental level.
If we say that the heroes and heroines before the predicament are like many people, lost in the crowd, living their lives in various strange or familiar faces, but when the broken life comes oncoming, they are growing at the same time, Rebirth was obtained. Of course, this growth and rebirth were both tragic and vivid.
The most vivid part of the film is about Stephanie’s relief. When she finally returned to the aquarium to visit the old days, facing the killer whale swimming in the water, she was very calm, she was doing it with one-handed crutches through the glass. With the taming gesture, the killer whale flipped along with the gesture. At this time, the director cleverly gave Stephanie a back. The audience could not see her expression, but at that moment, they could really feel her peace of mind that can accept all the good and bad things in life.
(Magazine draft)
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