There is actually a lonely heart under every rebellious soul.
Exaggerated black eyeshadow, oversized hoop earrings, baggy clothes and trousers, expelled from school, abandoned by best friend, bad relationship with slutty mother, bleak future. The complexity and harshness of life gave 15-year-old Mia an angular face and a heart that was hard to approach. She walks aimlessly in the streets all day long, cursing her former friends with dirty words, slipping into the private territory of a group of gangsters again and again, just to get close to an aging white mare, she is in a Play strong rhythmic music in the abandoned room between the two, and dance with a little clumsy but incomparable enthusiasm. No one will understand everything about her. She is alone, stubbornly and rigidly walking in the icy world built for herself. She does not need to be approached, and no one can.
Arnold's shots always have a solid tension in the blandness. The long shots of the characters' actions are tracked and shot. The seemingly random switching or even shaking of the pictures is like a documentary, which presents this unpretentious reality to the audience. In front of the eyes, and the audience is not only a viewer in this sense of picture, but also a witness and voyeur of other people's lives. The interlaced light and shadow seem to be in a trance participating in the lives of others in some way. The girl's hair was blown by the wind when she was walking on the road, and the outline of her face was blurred and clear, as if she could reach out and touch it; the girl danced against the glass window in the abandoned room, the camera was frozen behind the girl, and we In the line of sight, the girl seems to have been traversed by this lens, we can't see her face, but we seem to feel her eyes looking out of the glass window, looking at the barren world. This is Arnold's unique way of breaking down the silos of cinema, but at the same time, a new sense of estrangement is inadvertently established. Watching the lives of others has already drawn a line between oneself and others to a certain extent, and the objective sense of experience is originally based on the premise of emotional separation.
The more unscrupulous and perverse Mia appears in such a lens, the more clearly her loneliness and helplessness are revealed.
And Connor, the lover of Mia's mother, this man with an incomparably handsome face entered Mia's world at this time. He talked to her gently, he took their family out for a drive, taught her how to fish, bandaged her wounds lovingly, put her in bed and covered her with a quilt when she was asleep, he even admired her dancing , to encourage her to pursue her ideals. Everything about him, like a layer of light that may be unholy but absolutely tender, scatters toward this girl living in darkness. His favorite song "California Dreaming", which also appeared in "Chongqing Forest", flows freely in the afternoon sunshine:
"all the leaves are brown, and the sky is grey, i've been for a walk, on a winter's day, i'd be safe and warm..."
This gentle melody melted Mia's longing for warmth since she was a child. The Electra complex is a disease, but at the same time it is such an irresistible instinctive longing, such a longing that she may not even discover it herself. He is so affectionate and beautiful, stable and charming, almost perfect, for such a man, no girl can not be fascinated by him, especially a girl like Mia. She lacks such love and affection in her life. Some are just her mother's cursing and indifference, the ruthless criticism of her ideals by reality, and the incompatibility of the people around her. Everything about Connor became more and more valuable.
But life has never existed to construct a good story. After Mia and Connor finally got into a relationship in a lost relationship, Connor, who was unwilling to accept the responsibility and the unscrupulous relationship, resolutely chose to escape. Mia found him, and she still naively said to him: "As long as we love each other, there is nothing to be afraid of." But in the end, she still found the truth in Donner's camera, Donner already had family room. It is worth noting that the song Donner's young daughter sang in the DV at that time, "Bleeding love"; "Closed off from love, I didn't need the pain, I didn't need the pain, Once or twice was enough Once or twice was enough And it was all in vain Time starts to pass Time starts to pass Before you know it you're frozen of fruitlessness and despair. Mia's love fantasy was shattered by the ruthless moment of reality, her body was incontinent under such heavy destruction, and her spirit fell into a breakdown.
Mia, who was in despair, abducted Connor's daughter on impulse. When Mia and Connor's daughter were arguing, Mia accidentally pushed her into the water. At that moment, I held my breath. Can't imagine what the plot would have been like if Connor's daughter never managed to stick her head out of the rushing water again, or if the raging Connor, who nearly lost her daughter, lost her mind after catching Mia. extreme. Fortunately, the director did not let such a revenge move go out of control, but kept it within the scope of rational control, turning back in time at the most appropriate place and gradually returning to normal. This reminds me of Arnold's previous film, The Red Road, a story about revenge, but such revenge is not savage and dark, not as penetratingly cold as in Kind Gold. The insane brutality in Kill Bill. The venting of this hatred was even rendered by Arnold with a warm color, helpless and clear. Such a concern for the essence of life and an unrelenting nostalgia for fate is in the lens of a female director, through countless bland but expressive details, allowing the audience to question their own hearts while watching. . What is love, what is hate, what is impermanence of life, what is self-reflection of human nature... Even if there is no answer and only touches on the question itself, it is enough.
After losing her lover, paying the price of chastity, and even her dream of becoming a dancer was easily denied, Mia went to the white horse again. Arnold's films are always full of various animals, such as wild black birds flying freely in the sky, old and quiet white horses, hamsters poking their brains in glass jars, and fish caught alive on the grass that are about to suffocate , and various dogs that seem to have languid faces and bodies. The relationship between Mia and the white horse, many viewers try to interpret it through a fixed form of psychological knowledge, and believe that the girl and the white horse are a combination with a specific connotation and rich symbolic meaning. But here we don't have to think and analyze it in such a professional manner. Mia's attachment to the white horse can be understood as a yearning for the primitive wildness, or freedom. It was what she seemed to have, what youth seemed to give her, but at the same time, it was what she lacked, and what she could never really get. Just like all kinds of dogs that are always lazy in the camera, they seem to be walking at the bottom of life, they have lost all enthusiasm for life, they are just surviving in the instinctive way of animals, just surviving . This is more or less a metaphor and symbol for these various "little people" in Arnold's films.
"It's not as old as you think. It's old." "It's sick and we have to kill it," the boy told Mia.
Mia, whose expression was so hard that she could hardly see any change in her heart, finally sat on the ground at this moment, hugging her knees and crying in despair. Black tears stained with eyeshadow slid down her cheeks.
At this moment, my heart is silently choked.
At the end of the film, Mia left this place with the young boy and embarked on another unknown journey in life. From the rear window, she saw her sister disappearing with the big dog on a leash, and the road in the distance seemed to be a call. All this unknown, no one can describe for her, she can only continue to move forward in life with her hidden scars and a soul that grew up in the baptism of the pain of youth.
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