I don't have the courage and confidence to say at my age, I understand the movie. Some works are like this, with a special time threshold. For example, Bergman's "Wild Strawberries," and in recent years, "Roma" and "Pain and Glory" belong to this category.
I dare not say that the reason why I can understand or understand these films is because I myself cannot bear the heavy emotional projection of the characters in the films. The complex and powerful contradictions in the relationship between the characters do not show their inherent intensity in me. When I watched this movie, I felt this very deeply.
The level of sophistication of this French film has changed my stereotype of French films overflowing with romance. It is different from ordinary movies, trying to express contradictions and emotions through the lens. On the contrary, this is a film dedicated to internalizing and shrinking conflict. You must know that whether it is a movie or a literary work, it is a hundred times more difficult to collect than to put it. Because no matter what work, its purpose is to express to the outside world. The difficulty of internalizing conflict and emotion is that it conflicts with the essential needs of our creation. How to collapse emotion at a tiny node and retain its due tension is a test of the creator's sensitivity to emotion.
To give a simple example, when the director expressed the conflict between the heroine Anne's hemiplegia and her sense of self-esteem, there was a scene in which Anne was finished going to the toilet, but she couldn't stand up by herself, so she called Georges to help herself. At this point, the camera is directly on the narrow toilet door, and Georges holds Anne up with his back to the door. This process was slow and difficult, and all the director left the audience was Anne's helpless look. He didn't use any splendid montages or close-ups to exaggerate Anne's inner fear and helplessness. The director put all these emotions into the expression of the old man, and the calm performance of the actress also caught and completed the entire emotional transmission.
So this film is basically made up of this tiny, seemingly bland scene like your and my life. But it is amazing that the director can interpret this "plain" into a more touching romance. This is also the advantage of contracting emotions. It can bring the power density of the characters in the play to the extreme, and that burst is hard to resist.
Going back to the overall feeling of the film, my strongest feeling is the three words "breathing". Anyone who has seen this movie can feel more or less that the rhythm of the movie is very slow compared to ordinary movies. Whether it is the old-fashioned actions of the characters or the falling into the plot, there is a feeling of "procrastination". But the feeling of this "procrastination" to the audience is not boring and dull, but the comfort of lying on the sofa wrapped in a blanket and watching a movie. Because inside, whether it's the quiet room, the light rain outside the window, or the aimless chat between the two old men, there is a real and rare peace in life.
This kind of rhythm allows us to be more infected with the breath of this family and slowly introduce people into their emotions. The so-called "breathing" in the film is to make the audience's emotions slow down and become sensitive and peaceful.
In the end, as I said at the beginning, I can't make what I call "interpretation" of the core of this film. Therefore, I can only make a superficial analysis and praise of it from the perspective of the film and play. I hope people don't get caught up in a meaningless cycle by arguing about the film's ethical values. That's just the different choices people make when facing death, and that's not the point of the film. Love is the title of the movie.
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