One of the most obvious feelings after reading "Nowhere to Be" is that the name is translated incorrectly, and it has to be called "Nowhere to Be".
The old have nowhere to depend on and the old refuse to follow, one is passive and the other is active.
Although the heroine revealed that the pension can't support herself, she definitely didn't fall for the bitter hatred of abandoned children in society.
In fact, there are many eaves that the heroine can live in: the self-built house of her best friend, the guest room of her sisters, the house of her new lover, and the former residence of her deceased husband.
The reason why they insist on going on the road has to be traced back to the legacy of the hippie generation. The heroine's rebellion since childhood is also not less exaggerated, as can be seen in the scene where she ruthlessly scolded the real estate businessman at her brother-in-law's house.
Whether Zhao Ting also committed "cross-class beautification disease" is doubtful here.
Originally, I was surprised that in a movie of this quality, these elderly homeless people did not quarrel because of the old people's strange temperament, nor did they show any interference from the lingering pains of old age. These two factors only touched the old grandma with the boom, and it was obviously not enough.
And after the female protagonist scolded the real estate developer and fooled the common people to borrow money to buy a house, she then borrowed a large amount of money from her sister to maintain her RV - isn't this also taking out a loan to consume what she can't afford!
What is the difference between being caught up in the "consumerism" routine and being caught up in the "idealistic" routine?
The starring McDormand is really a beautiful "movie face". In the first few scenes, the agile impression established by "Sanguang" has been swept away. You completely follow her tone and eyes. It's more like the policewoman in "Frozen" is getting old.
I don't know if the soundtrack poem recitation of this movie is Malick's heir, but Zhao Ting is already like this in "Knight".
Watching this movie has been accompanied by various so-called "pleasant" associations.
For example, old sisters who work in various places after retirement support each other - "Days and Nights in Tianshui Wai"; married with her husband for many years, but her husband died first, but he was reluctant to leave - "Miryang"; the heroine explained to others , my father once taught: the old people will disappear completely if they don't care about them - "Dream Hunting Travel Notes"; the nature of these "non-dependants" wandering to death is not so much the lack of money and housing, but more of a spiritual desire to leave Yu Yong - "The Hunger" in "Burning"; the scene of an industrial town where the industry shrinks and degenerates rapidly - "The Piano of Steel"; the grandmother with a crane in the late stage of cancer recalls her long-term vision of witnessing the magnificent scene in the world back then - "Blade Runner" android monologue in the rain.
The script is actually a little worried about Zhao Ting's skill.
The smooth flow of "Knight", fortunately, there is no cause and effect to be linked, and that is the moment. And all the characters in this new work came out to state their "prequels", and it seemed that the screenwriter was unable to settle them all, so the paragraphs that explained the plot through the routine of telling each other's hearts and values were quite obvious.
Another personal difficulty to digest is that movies are ineffective at explaining space and time. As big as the relationship between the nomadic stronghold of the heroine, as small as the space situation of a camp itself, and even the internal structure of the heroine's RV, it is confusing. In this regard, you can refer to the latest comic "Post-War Landscape" introduced by Houlang. The script was written by a director, and the scene was fixed in an RV camp, with stronger drama.
In terms of time, the whole film is based on the cycle of spring, winter and spring, but except that the heroine returns to Amazon at the end, and the farewell to the old friend in front of the self-service warehouse hints at these people's "migratory birds" career, the middle All kinds of shuttles between urban and rural cold, warm, dry and wetlands, I'm sorry, I feel very inexperienced.
There is also a coincidence that I have read several works about the working class in the past two days. "Dispatching Pieces" written by Hu Anyan, published by "Copy Making", describes the author's work in two express delivery companies in Tongzhou, Beijing from 2018.3 to 2019.12. This person writes with a strong "neutrality", neutral in emotion, neutral in footing, neutral between the viewer and the person being watched.
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