Red

Some people say that Kieslowski is an active pessimist, which is somewhat similar to Yang Dechang in his films. They are not optimistic about revealing the dark side of some souls, but they always arrange the image of an ordinary sunshine in the film, trying to use this little sunshine to illuminate all the dark corners. Valentine in "Red", the young man in "Love Short Film", Lun Lun in "Mahjong", and the little boy Yangyang in "Yiyi" are all such not dazzling but indispensable soul characters.

It is not that there is no love in this world, but that there are gradually no people who believe in love.

I believe that no one does not believe in love in the first place, it is only because they pour too much emotion into the things they love and end up being hurt, which creates a kind of resistance, or a kind of self-protection, because the love of love Lack of security. Beneath the indifferent appearance, they hide their sincere and deep love. They are not cold-blooded, but cowardly. And love takes courage.

People who refuse to love like this often appear in Kee's films. In "Red", it is the old judge. In "White", it is the husband who tests his wife with his life as a bet. ......

The old judge is like a patient who is taboo against doctors, making the wound of his lover's betrayal fester wantonly and corroding his soul. Due to his closed heart, his life is also isolated from the world, and he only comforts his wounded heart by eavesdropping on his neighbor's infidelity, betrayal, and suspicion. And these eavesdropping of human affection has only aggravated the old man's despair of love and affection. Like this, after listening a lot, to him, love is nothing but nothing more than that.

The appearance of Valentine was an accident for the old man. There are still people who believe in love, and there are people who care about people who have nothing to do with them, even a dog, this girl like the angel Emily. In "Red", Valentine turns off the bug when she hears the unbearable dialogue, just like the scene where the young man in "Love Short" removes the binoculars when he sees the adoring heroine making out with others. Here is a kind of simplicity, kindness and shyness, the embodiment of Kieslowski's idealism through young people.

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