"Underground" is an "extreme" text that rarely needs to be counted in the stage of the plot introduction. In addition to its exquisite and unique narrative techniques and video skills, the historical materials it carries are often in the whirlpool of the times. And a symbol of regret. Therefore, even in the case of winning the Palme d'Or at Cannes in 1995, the reviews it has experienced are often limited by political criticism and constantly reconstructed. Fortunately, such multiple perspectives, which are magically experienced inside and outside the work, still help it become a classic of postmodern cinema.
"Underground", "Song of the Wanderer" and "Arizona Dream" are also known as director Kusturica's "postmodern trilogy", of which "Underground" is the most prominent. Apart from the slander at the political level, "Underground" also fully gives the audience a multi-dimensional and open space for appreciation.
Among them, the most prominent is the reverse emotional identity of its "moving against the Tao". An extremely frivolous individual, under the rupture and indiscriminate bombardment of the three abstract ideologies, instead, with his "light" brushstrokes, he depicts a series of joyful but clumsy and barbaric "falsehoods become true". While highlighting the "false" nature of the film, with its alienating and hesitant temperament, the audience is personally involved in the real differences that were contradictory at that time but eager to observe. In the end, he constantly responds to and analyzes his stubborn boundaries and truths by switching from a seemingly flat microscopic perspective. The constant provision of the illusion enables the conflict of equal observation to be privately enjoyed by preference and need. This is precisely the characteristic of postmodern cinema, which has been improved from the "collage culture" that carried the characteristics of Popism in the past and reached its extreme in "Underground". In addition, the seemingly complicated construction in the film is actually a deconstructed and twisted parallel ruler. Under the light and shadow of absurd furnishings, the authenticity of the film and the documentaries it is interspersed with is constantly dismantled and violated, and the progress is still nihilistic. At this time, the independent thinking of the audience becomes more important. All the widely pieced dust settles under the strong dramatic tension that simultaneously expresses witty and helplessness, which makes people wonder if they have been deceived together with the characters in the film? Are these seemingly lively criticisms and resistances themselves part of social control? Yugoslavia in the film has obviously chosen to wait in the question again and again. With the most sympathetic noise and commotion against the cries and whispers of multiple ideals, in the end it becomes everything in the world. The famous western thinker Isaiah Berlin also spoke of the incommensurability of multiple values, but also insisted that human beings have a certain minimum "commonality". Even if the two sides pursue different pursuits and even go to war because of this, you and I can still imagine and understand that the other side will pursue this kind of value. "Underground" shows, it is not so. "Hope is only given to us because of those who have no hope. When the carnival subsides, all the declarations of dignity, persistence and faith are covered with dust, but they can finally reach each other with the scratches of memories, and they are intertwined together. In history. The trumpet echoes, love, hate, everything is affectionate.
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