A small fit.
On the weekend, I went to the video room of ShanghART Gallery to watch the screening, one of which is the artist Liang Yue's "Driving in the Early Morning Kills Despair", 22 minutes. The camera is like a driving recorder, driving from the west side of Shanghai to the Bund, facing the direction of the sunrise, without surprises or stories, just recording the daily driving distance. The moment the car arrived at the Bund, the sky gradually became brighter, the presence of street lamps seemed redundant, and the rows of warm yellows went out. The speed of the car dropped, and the movie ended when the car drove to an intersection, and a song suspected to be from the radio rang out in the car. End.
When I discussed with Mr. Hu Jieming, I only said that the film reminded me of waiting for dawn on the train against the window when I was a child. And watching Andy Warhol's "Empire Building", but also dragged it directly to the moment when the lights were all on because of impatient. Modern man obviously cannot afford to be wasted by time. If I hadn't been in the screening room that day, I'm afraid I wouldn't have the patience to watch the 22-minute art film.
Then, on the second night after returning, I happened to watch Jarmusch's "Earth Night". I took out the synopsis of yesterday's screening, and suddenly found that the song played by Tom Waits at the end of "Driving in the Morning Kills Despair".
This kind of surprise of the same time line was suddenly opened. I think the artist must have seen "Earth Night".
It's all "boring" stuff that makes you want to immerse yourself in it.
If Woody Allen was a more egoistic rambler, Earthnight's ramble might seem more accessible to everyone. While watching this film, playing on the phone, or chatting with friends, distracted, it must not look good. This is another movie that is only suitable for one person, turn off the lights and watch it quietly.
It was just an ordinary night on Earth, but when it got dark all the stories ran out.
The first story is in Los Angeles, and others are ideal. Winona was smoking a cigarette, wearing a hat and a wide shirt, and easily loaded the woman's luggage into the car, young and vigorous. She said that she was a girl and she was young, so she wanted to learn some experience. I'd rather be a mechanic. Most twenty-year-old girls in Los Angeles aren't the tomboys in Winona's show. So it makes sense to reject big-name scouts. Even though she was only twenty, she felt that she was a shrewd and open-minded girl.
The second story is in New York, about racial culture. It feels more like a comedy, complaining about each other in the boundaries of cultural differences, nothing special to me. Except for the Germans this setting makes me feel kind.
The third story, in Paris, feels supreme. "Don't blind people usually wear sunglasses?" "Really. Not sure, I haven't seen blind people." This is my favorite of the five stories. Several micro-actions and conversations made by the black man to the blind woman were obviously provocative, but they were all subtly dismissed by the blind woman. She skillfully put out the cigarette butts, accurately sensed that she had entered the underground tunnel, and could also tell the driver's accent. from which city. She was moved when she said that I felt sex with every inch of my skin. The people we love with our eyes open are not necessarily from our hearts.
The fourth story in Rome is another farce. The driver accidentally shakes off the priest's medicine, which directly leads to his death. He patronizes and tells his own story and never observes the minds of the listeners. This is not the case for most Is it a portrayal of urbanites, who want to save time on the journey to express their sincerity but refuse to go to the church to confess. After accidentally "killing" the priest, it was attributable to the fact that his sins were not redeemed, and he was more worried about the leakage of his secrets rather than the sudden death of the priest.
The fifth story is in Helsinki, which is a bit deliberate in comparison. It's too narrative, and I think it's still worse for the man who lost his job, his new car was smashed on the first day, his wife was getting divorced, and his daughter got pregnant unexpectedly. It is more painful to always have something and lose it than to never have it. At the end, the man took out the unemployment benefits in the paper bag to pay for the car, fell to the floor, and the neighbor pushed aside the fence to say good morning to him, the sky was already bright. This scene is infinitely sad.
By the end of the show, I felt like I had a long night too.
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