From such a perspective of God, Son of Thor refused to agree with it from the beginning, "In the voice of Ashes, death is the norm." Under the shroud of death as the norm, the faint flame of humanity was almost extinguished, orderly and chaos. Incinerators, mass graves, the disposal of thousands of corpses every night, and the dumping of hundreds of thousands of tons of ashes, these sympathetic images and sounds in other works constitute the keynote of the film. Beyond that, it is the narrative perspective that needs to be followed up, cramped, Xu Ji, and suffocation. They re-deconstruct our understanding of concentration camps without any suspense.
A talented director better than Greengrass, using narrow frame, large aperture, and hand-held, let our perspective collide everywhere, but we have to return to the real running life in the focal length of the lens, the blurry, tearing, and one after another outside the lens. The flesh, shouts, screams and firelight constitute a large number of fragmented branch lines, wrapping the grand narrative theme layer by layer outside the main line, and we cannot allow us to play for a moment.
Magnificent, not so. Thor is dead, but he is obsessed with the integrity of a corpse in an attempt to obtain even a trace of religious and moral fulfillment. In this sense, there are few sharp edges and corners in the portrayal of the single-line protagonist. Therefore, a large number of negative comments on the lack of empathy of its characters, I understand, are the best compliments for the portrayal of the characters in the film.
The German philosopher Adorno said that after Auschwitz, writing poetry is barbaric. At the end of the film, the camera pulls away from Sol's point of view, with the final gunshot, and follows in the footsteps of a boy, pointing to the blinding white light of a forest. The poetry of nothingness is quickly rendered on the other side, and there is no trace of civilization to be found. The son of Thor, rather than speculating on whether the undead who really want to escape, should understand it as a weak belief in the existence of God for those souls who have long been numb and hopeless. Indeed, the answer is already revealed in the title of the film.
"When human beings are struggling under the giant wheel of history, how to settle down in an environment, this is what we are interested in." After Auschwitz, how do we live with pain? This is obviously not the director's hilarious point. After all, God is dead. Apart from the present and itself, what words are left?
As for how the daisies bloomed on the gas chambers and crematoriums blown up by the Germans retreating, that's another huge proposition.
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