In fact, as a hand-held DV shooting method, Lars Von Trier puts the viewer into a perspective of parallel attention, which is the so-called restricted narrative. He is different from the perspective of the omniscient and omnipotent God. Push the lens closer to the face of the person. Even if the film is detailed, there are still a lot of basic shooting elements of front and back. Then, in the small scene and the large close-up handheld shooting, it is more close to the actual shooting scene. The original appearance is considered rough. Dougma believes that such a way of expression can be close to the side of life; under such conditions, the director will pay more attention to the sculpting of the script and the actors' ability to shape performance. Fortunately, these two things are in Denmark. Basically, they are proud of their cultural soft power. In any case, they avoided the technical flaws of others and at the same time adopted a strategy of learning from each other. This is actually the essence of Dougma’s "Ten Commandments". These commandments Basically, it only applies to Denmark and some third world countries. If you switch to the first world Hollywood and second world Western author movies, there will definitely be a pattern of inconsistency.
When it comes to the "Ten Commandments", not every film that has been dubbed Dougma has completely complied with these rules. Now Winterberg's latest film "Hunting" with the Dougma label uses artificial light sources; Let’s not go far, let’s talk about this "Broken Waves". The scene showing the clock of heaven at the end of the movie completely violates the "Ten Commandments." It is impossible to make such a provision, and in the end, only the arrival of the "implication" instead of the "form" is consistent. This is also one of the important reasons why most film critics commented on Dougma as "pretending to be forced".
Returning to the film, the protagonist that Polang focuses on is based on a marginal person. The configuration of the marginal person enables the audience to focus on the story narration as a special point of view of "ordinary bystanders" when entering the situation, witnessing all When things happen, at the end, the point of view is changed to the perspective of God. In fact, this is a sublimation of self-identity for the audience, and we cannot help being at the highest point of morality in the process of watching the movie. Criticizing all the people in the drama, through the disguised point of view, "sit on an equal footing" induced self "compassion and love", but by no means empathy. After the film ends, the audience is more not the emotional vent of "compassion and love", but rising The joy of being a "God" from the perspective of God and the "rejoicing" of being away from such an environment can be summed up as the audience's emotions are not empathetic, but compassionate to heaven and human beings.
It’s just this, for Winterberg’s films that really hurt the audience, even if his works are not many (I would advise Winterberg to stay away from Ras von Trier, without his participation in Winterberg’s shooting. The ones that come out are basically classics) Whether it's the "Family Banquet" that deconstructs the family, or the "Hunting" which is the best commentary on the mob. Winterberg is better at pushing the central person to the edge, which is actually better than just showing the edge person and the effect is better.
The conscience trilogy is a story about women with psychological problems entering the abyss. When you think about it carefully, it is very deliberate, and it is actually like watching a family ethics drama, but it is also a novel shooting technique and technical maturity, of course. The rigor of the script concealed many shortcomings, but only the analysis of the word "conscience" was actually completely insufficient.
The unfair treatment suffered by women in this film was completely recovered by Tyre in "The Antichrist". Now it is interesting to think about it. The "God" of the "Conscience" trilogy of God women is treated as a neurosis. In "The Antichrist", the power of the witch is fully demonstrated. When Tyre demonstrates the power of women, it is not only the duality of the strength of the spirit and the fragility of the body, but also the mention of the "spiritual" level. Er’s simple retelling is that the origin of power is only the “worship of the witch” at work. This is well explained in "The Antichrist". Such an interpretation can always run through the setting of female characters in all of Tyre’s films. , And BESS also responded naturally when making "evil spirit" prayers. This blurs the boundaries between the character's spirit and nerves.
In fact, the so-called unique style: chapter segmentation is basically the function of rhythmic harmony. Thanks to the 7 beautiful pictures and sweet songs, it makes people feel less boring. Think about idiots, why this movie It has a better viewing experience than idiots. Chapter segmentation plays a big role. At the same time, audiences try to interpret symbols from these chapter guides. Don’t be funny. In fact, these so-called metaphors have only one effect: INTERMISSION
mentions Come on, even if your film output is surprisingly high, there is a big gap between your old friend Winterberg. Don’t worry about the killer, thieves, and rapists anymore. Set your focus on ordinary people and get rid of neuroticism. , Maybe it will be better.
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