These problems, which are hidden in the corners and have been repressed for a long time, are like small tumors. Being able to find which one to choose and which one to choose has become the focus of competition among script writers. A good screenwriter, at least in Spain, should have a sensitive heart, a unique and sharp point of view, and a sufficient tolerance and understanding of "marginal people" or "different people" (in contemporary Spain, this has always been It is what the whole nation is striving to pursue, and I personally feel that this is an important symbol of civilization and progress).
This movie was recommended to me by a screenwriter in Madrid. She's a friend I met while traveling and was involved in writing the script for the TV series "Cuéntame Cómo Pasó". This TV series was once popular in Spain. It is a classic work that reflects the social changes in Spain after the end of the Franco era. In a broader and gentler way than the movie, it reflects the social atmosphere and the silence of the people's life through the daily life of an ordinary family. Change. I feel that Spanish filmmakers are generally good at dealing with this kind of point-line-surface relationship, which is atmospheric and smooth, vivid and convincing.
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seems to run away ==
I simply Go write a paper on this topic ==
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Our protagonist. He may be a marginal person himself, or a passerby who accidentally intersects with the marginalized group, so the camera freezes on him, zooms in, and zooms in. His life was unfolding before our eyes, from a passerby to a living person with a name, a surname and facial features; our mood also began to fluctuate with his fate, and we understood his life at once. The choice, no matter what he does, can leave a little sympathy - and if it is in real life, most of us will bluntly locate, categorize and distance him or even despise him with contempt.
That's part of the magic of movies, it makes us feel like better people. This is also part of the function of cinema, which gives us the possibility to become better people.
The moment of tolerance and understanding that comes from getting closer, the awareness that the protagonist of all literary and artistic works can find comfort in the audience by looking at problems from the protagonist’s point of view, should be psychologically Let's just say it, I'll call it the protagonist complex for the time being (is it lame ==).
Celda211 is the victory of the protagonist's complex. Whether it's the self-communication of the film's inner world or its interaction with the outside audience. As the incoming prison guard, Juan Olivar was supposed to stand on the opposite side of the prisoners, but because of a small series of sudden incidents, he was among the rioting prisoners, and he risked playing Infernal Affairs. In less than a day, he became fraternal to the prisoner boss, Malamadre, while the other cared for his pregnant wife, trying every way to get officials to appease her or get him out. During this time, he saw the abuse of prisoners masked by official sounding rhetoric, the humanity in prisoners and the inhumanity of the authorities, all accumulated by the police in the crowd who learned that his wife was mingling with the restless outside the prison. The beating to death reached a climax of qualitative change, turning into a complete and explosive mutiny and breakup. But as witty and brave as he was, he ultimately underestimated the authorities' means. When the government seems to be about to announce on television that it will accept the prisoners' improved conditions, riot police have dashed the prisoners' illusions, and Juan is shot dead by a grudge in the midst of a chaotic massacre.
This is not an easy film. The sadness of little people unable to control their own destiny in the midst of the great turmoil, the helplessness of individuals unable to compete with the state apparatus, and the annihilation of the brilliance of beautiful human nature are all heart-wrenching. So I was successfully brought into the protagonist complex. Juan sided with the prisoners in the film, and the audience automatically sided with him.
The truth on the fringe side is too easily distorted and obscured by mainstream discourse. Then think about it carefully, how much truth is there that we don't know, or you can also think about it, everyone sees the truth differently, what kind of truth counts? A good audience, while experiencing the filmmaker's perspective, should also be able to jump out of it and consider each side's position for a minute. Only in this way can we avoid all kinds of extremes and narrow-mindedness. This is how you watch movies, how you watch life, and the same way you watch the world.
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