Andrei Tarkovsky's only sci-fi movie "Solaris" (flying into space), the poetic lens is probably difficult to see in other sci-fi movies. The author of the original book said that he didn't like the Tarkovsky version. This story is about the universe, human beings, but not for you to tell about love. However, Laota told a "boring" love story, and also told the universe and human beings along the way. Some people also say that the ideological core of the original work is "anti-human center", focusing on highlighting that it is meaningless to study Solari from the perspective of "human" thinking. On the contrary, Tarkovsky's films respond positively to "what a person is" through important human themes such as family affection and love. Perhaps, if you think about it from another angle, you can only understand the limitations of human beings and understand the meaning of “anti-anthropocentricity” only by clearly seeing “what human beings are”.
At the beginning of the film, Tarkovsky used frequent long mirrors and empty mirrors to present some natural things that have nothing to do with the narrative, fog, green grass, huts, and then close-up and then pulled to Dr. Kelvin, who looked at the swaying water plants As I thought, the faint lake water under the aquatic plants became more and more mysterious. Tarkovsky uses the lens to create a sense of alienation and strangeness of these natural and ordinary things. The tone of the film's thinking is just like this, facing the natural things that are in front of you and experienced, or familiar, or alienated, or real, or dreamy, the knowable and the unknown.
The secret of Solaris planet is that it is a thinking sea of life, which can absorb human thoughts and turn the images in human consciousness into reality. In Solaris, Kelvin's deceased wife of ten years reappeared alive in the space station, getting along with Kelvin day and night. The film discusses the identity of Kelvin's "reborn" wife, whether she is a real human being. This is similar to Blade Runner. Can replicants be considered human? How should a person be defined? The reborn deceased wife Harry learned to sleep, knew and remembered himself, and gradually developed the ability to remember, even in this identity debate, in this identity debate. Looking at the painting "Hunter in the Snow", she felt the dead branches in winter, the blue-gray sky, and also knew that survival was like a hunt that did not return home. Like every human being, or in other words, like every human being, she can feel memories, pity and emotion, and was born to experience happiness and suffering. The debate ends with Kelvin throwing himself into Harry's arms, thinking whether Harry is human doesn't mean much to Kelvin, Harry is in front of him, this is where he belongs, he kneels like a prodigal son in a painting Embrace your father for reconciliation, for peace.
In the end, Harry self-destructed, and Kelvin also really let go of his dead wife in his heart, so Solaris never made Harry again. Did Kelvin return to Earth at the end of the film? This is not like the open ending of "Inception". Logically, the director gave the answer, Kelvin still stayed on Solaris, and the sea created Kelvin's deepest desire in his heart. His father and mother, the final picture is frozen at his home, and his hometown is floating on the Solaris Sea. For the film as a whole, this is also an imagery expression. Just like the beginning of the film, even if we return to Earth, the living world called reality is still like a lonely space station floating on the unknown Solaris Sea. Humans live long and busy in the space station. Humans are just Kelvin, kneeling in the place called "home" with a plop. The unknown is something that doesn't exist as long as you close your eyes and don't want to.
"Anti-Human Center" is to nakedly expose the unknown domain of human beings, and this is also the final effect of the film, but in another way, from a positive solution, human beings will choose the "destiny", human beings will choose to be sure, human beings will choose Continue to live in knowable reality. Standing at a distance of more than 6,000 meters like Nietzsche did, shouting and shouting, after all, very few.
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