Aging is the gradual sinking of the body. At first we floated in the amniotic fluid, then we were held upside down by people and enjoying the embrace off the ground. Then we walked on the ground and began to be drawn downward by gravity; silver line-like wrinkles slowly appeared; Physical diseases emerged. The problematic parts seemed to be petrified, and the body became heavier and more unable to bear the weight of gravity; until the soil covered the insteps, knees, neck, and even the top of the head, in the end, a piece was only written with the name and date. The stone replaced our physical body on the ground.
Following the process of aging, death forces us to look directly at it more and more frequently. The old director Mick in the film is afraid of death, so he cringes in the act of film creation for many years, because the inertia of this creative form (the original copy of his behavior when he was young) can make him avoid death is approaching. fact. Even if the inspiration has long since dried up, he still clings to the form, and the work created in this way can only lose its core charm and become a noun concept like "legacy". When the bubble burst, he faced his true state for the first time: almost enough to see the texture of the face of death. Unable to turn his head back into the flow of daily life, he could only succumb to the gravity of death and fell to the ground with one end.
Corresponding to the falling Mick is the rising Lama: his ascending body directly offsets the downward gravity of death. The nuns in "A Beautiful City" and the lamas in "Young and Energetic" portray the role of saints, showing the director's religious interest and inclination. These seldom-inked images seem to cut a window for an airtight film, projecting an eternal view from the infinite outside into the finiteness of our sight. These anti-secular images seem to tell in the movie: The lightness of religion may be the only thing that can absolutely contend with the weight of death.
The lightness of religion can be the "emptiness" of Buddhism, the "dao" of Taoism, the "god" of Christianity, the spiritual experience of yogis, or the achievement of any religious sect. However, as long as we are still in the reincarnation of the secular world, everything that religion describes, the "god" it refers to, is more like a symbol to us, and it can only be shaped in a kind of uncertainty. After all, the real religion is the first-hand experience in speechlessness, and the part of the so-called religion that can be spoken is just a fragment of language concepts. Although not every individual has religious beliefs, the demand for lightness has always drawn humans in consciousness. To some extent, the yearning for lightness is a religious behavior.
Before the final and absolute death actually arrives, it has long appeared in the form of various negative signals, calling us into the dark side. Fortunately, the light and upward gravitational forces appear in the same way. They are steps to help us ascend, even in those moments when death is far from coming but is invisible. Lena, who suffered her husband’s derailment, cried desperately in the bathroom. A form of defeat accelerated the burden of life, but in the end when she obeyed her truth and freedom, it was a climber who fell in love with her. Lead her body to levitate to a high place.
In the scene of the movie poster, Mick and Fred are at the bottom of the screen, and their eyes are upward, watching the beautiful flesh walking into the swimming pool; the aging flesh is inextricably heavy, and the soul will follow the sight upward. Floating into the air. When people simply obey the attraction of beauty, that moment is light.
Youth is lightness-the "lightness" of youth. In the film, the only line of the young masseuse is to express: "I always don't know what to say." Language, identity, and works support people's sinking body; when a person feels weak And lack, he needs to use form to reflect his own image, and at the same time he will be burdened by form. Youth never feels deprived. Although it is also subject to the traction of death, the lightness of youth itself is enough to construct a force field with "I" as the core. Relying on this centripetal force, youth draws round circles, and ripples continue. Whether it is a fingertip dance (massage), or twisting in the room alone, or doing nothing, she always rippling lightly in her own dance.
The film portrays a lot of people floating and intoxicated in the pool. The squeezed soul stretched out; the trembling gradually subsided, fear ceased, desire dormant. When the mind is zero and the soul is empty, the body floats lightly in the waves and returns to the mother body.
Unlike Mick who is obsessed with "posthumous works", Fred's attitude towards the outside world is "forget me." He discarded the burden of the composer's identity, and always adhered to the substance: just through a piece of candy paper rubbed in his hand, he could relive the private and silent beauty of music to him. Living in reality, when the sensitivity to beauty is maximized, you can take a shortcut to capture the light and floating beauty in the air at any time.
At the end of the movie, when Fred received a healthy medical report, he realized that all his previous worries about physical illness were unnecessary. At the same time, the doctor said: "Even if there is no problem now, it will gradually happen in the future." Death is indeed an inescapable burden, but people are good at becoming its accomplices: speculating on the face of death, plumping its image, and in turn threatening oneself.
When the physical body becomes heavier, the act of absorbing lightness will become more and more difficult, but as long as it has not been completely covered by death, we will eventually be able to stick our dry fingers into the crevices of time, digging out all the slight possibilities.
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