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"Mustang" surprised me. Such a film, it used to be like a film patent theme from a third world country. The perverted religious society imprisoned the growth of girls and obliterated their happiness. Old-fashioned. Darkness, bitterness, tears, accusations. Haven't read the ruthless destruction, it's that painful.
It's also a Turkish movie, and I'm equally surprised. The impression of Turkish movies still stays in Ceylan (Ceylon) and his Istanbul, which is the city of light and freedom in "Mustang". Otherwise, it's Sammy Kaplanoglu's Custard Trilogy, Peaceful Countryside, Breathing Nature. Moreover, among Muslim countries, Turkey, which young Chinese people yearn for, is already a more enlightened and secular country.
"Wild Horse" shattered all the civilized imaginations triggered by the movie, because it seems not difficult to see that in the big family where the five sisters grew up, there are also female directors' own shadows and experiences. If you think of not being able to live with your parents, the four sisters of Kamakura Kaijie, Japan in the East is clearly an ideal country. As for "Wild Horse", it is still a bit stuck in the meaning of uncivilized feudal society. As a result, "Wild Horse" was also shot in a particularly sunny day, which surprised me again.
Even if this is a middle-class family that does not worry about material food and clothing, even if there are football games in their lives, the house itself, after all, has become a cage for imprisoning girls. The film is highly focused on capturing the beauty of young girls, and is determined to make them beautiful, more literary and artistic than Xiaoqing, and make art films popular and popular. The girl's hair is shiny, her skin feels soothing, and she sleeps and hugs each other side by side, which is a kind of beautification that invades the private space. Not to mention soft light, the room is often filled with overexposed light, saturated colors, and a spotless atmosphere, which seems to completely block the pressure from external reality. But when the age comes, what should come, what should happen, can't stop it.
Some friends have some views on Chinese feminism. He believes that there are human rights first, then women's rights. "Wild Horse" seems to have no opinion on feminism, just want to fight, want to escape (the object of defecting is a female teacher who does not have much previous explanation). The movie didn't even want to go dark. The fate of young girls is like catkins, some fell into the stinky ditch, and some were sent to the sky. The traditional marriage model does not mean creating a tragedy in life. But behind the different fates, there will undoubtedly be a set of rhetoric from the elders. "We are good for you", "You see we have come here too". Xiaomei's resistance was the most resolute. She did not have the despair of a suicide, nor was she as passive as a person who just let it pass. She learned to drive, and she saw her own future at a glance in the fate of her sisters. So, she must escape this terrible cycle of nightmares.
The climax of "Mustang" is very interesting. The rooms and houses that served as cages became a defensive process against intrusions. They were locked in the dark room, its indestructibility turned into a necessary condition for escape. Sisters are deeply in love, and they have become powerful spiritual forces, enough to resist the barbaric invasion of the outside world. There are still some unclear points in the movie, such as what the uncle did, which is not visible and has not been supplemented. The audience can only make up for the sins in the shadows. However, the girl's resistance was already so decisive. From the whole world slept with me, to the outburst of walking through the back door and the back seat of the car, and even that gunshot. These desperate and helpless cries seem to echo on the road to freedom in Istanbul.
When a door is closed, another door is open. They weren't born wild horses, they chose to be wild horses. 【Beijing Youth Daily】
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