Faith in whore and nature

Dukeheimer said that man created God in his own image, and man created religion to worship himself. Therefore, man must repeatedly determine the status of the only true God, through the church, through the priest, or through the Inquisition, so as to determine the man himself. Therefore, there are different beliefs. Believers determine their own rationality by denying other beliefs. For example, the French invaders who believed in natural human rights sentenced the cardinal to death; while the British army that defeated Napoleon hanged the French officers stationed in the city. There are three kinds of people in "Spirit of Goya", various other people of faith represented by Lorenzo; Inas; Goya. People like Lorenzo are the tide-makers in the great social changes, the revolutionaries or the revolutionaries in all revolutions and religious reforms throughout the ages. What is faith to them? It may be a shortcut to the nobility; it may be a proof of self-determination. Faith means unconditional acceptance without questioning. Lorenzo can maintain a noble status and a prominent position under the Christian faith; he does not need to question or has no interest in questioning the faith, just as he believes in the rationality of the "oracle" in the torture of prisoners so unthinkingly . He was forced to flee Spain because he had been betrayed by his faith during the "oracle" test of Inas' father, losing his former position in humiliation. And in Revolutionary France, a new faith, a faith that can wash away the shame of the past and give him new glory, brought him back to life. When Lorenzo finally confronted Goya's questioning, he loudly countered: "You are a prostitute, you can paint for anyone for money, I am a man of faith, and you are a prostitute." And this counterattack showed What an ironic scene. A person who can accept even completely conflicting beliefs without doubt and thought in order to obtain the certainty of his own existence, a prostitute of such obvious beliefs, enjoying the full confidence of the certainty of his own existence given by his beliefs. In this state, anyone who is defined as "the other" can be blamed without hesitation and righteously. At the same time, this scene is so familiar. The picture scroll of human history has long been filled with similar episodes. It has continued from ancient times to the present, and it is unlikely to be withdrawn in the future.
Inas's father, I think is a highlight in this movie. He may embody some of the idealized features of the emerging bourgeoisie. He is skeptical, adventurous, and shows courage and determination in the process of rescuing his daughter. When he went to ask Lorenzo, he was not completely humble, passively waiting for others to show mercy; he had a premeditated plan. On the one hand, he used a lot of money to soften the church, and on the other hand, he dared to lynch a priest in his own home and force him to Sign a self-defeating statement to coerce him into rescuing his daughter. The only thing I can't figure out is how the movie jumped to 15 years after Lorenzo fled. I always feel that there is such a father, and the church has promised to let him go. Why is Inas still locked up? Fifteen years? It is impossible for the church not to know that Inas is still in custody, and that the child that Inas gave birth to in prison was taken away by them; Inas's family has also been alive. The corpses in the movie where Inas was released and returned home were obviously new. My feeling is that Lorenzo, who came back with the army, will definitely not let Inas's family go, so he just killed them all. So Inas has not been rescued during this period? This question is left to the experts to answer.
Inas is the most innocent one in the movie and also the most beautiful and pure. Her eighteen-year-old years are like a flower that has just bloomed, which is the most confident and bold expression of nature when interpreting her own beauty. She can laugh at a "savage" game and kiss the dwarf's feet, or she can frown and twist her nose at the roast suckling pig being served. If Lorenzo and his ilk represent human beings, then Inas is nature. Nature is always vulnerable in the face of human ravages, just as Inas has never actively resisted from entering the court to getting out of the prison. It is like the jasmine flowers growing on the roadside, which have been picked and damaged by others, and innocently bloomed with the same fragrant whiteness in the second spring. Inas's heart, as a social person, will always stay at the moment when she entered the dark court. The released Inas, although her face was completely ruined, maintained her purity and nature in a semi-mad state. When she walked forward holding the hand of the dead corpse Lorenzo, she turned back with a naive smile and made the whole picture freeze in a sacred moment, preaching the redemption that nature never abandons to human beings. Some people think that Inas's feelings for Lorenzo are a manifestation of Stockholm Syndrome, but I don't feel that way. Lorenzo participated in the execution of Inas only once, but his subsequent appearance completely became the only moment in Inas's prison life that he enjoyed warmth. Natalie Portman's naked body still shows the beauty of nature in a dark prison, and when this body is opposite the priest in black robes, that bright nature contrasts sharply with the darkness around her , beautifully helpless in the invisible darkness.
Goya in this film feels to me as an Other, a person who is independent and outside the system, and thus can witness all changes. His position is notable here. He was an admirer of Inas and a friend of Lorenzo. He is an artist and works for money. The two character systems seem to correspond, turning Goya into an ill-defined person, a bystander. And only bystanders who stay out of the way can act as a bridge in disputes. Goya is the thread of the needle throughout the film. Lorenzo and Inas saw each other's portraits in his studio, and Inas could not see Lorenzo's face, just as prostitutes of all faiths have no real faces; Be attracted by the beauty of painting Inas, just as no matter how people change, the beauty of nature will always arouse their most essential desires. After Inas was laid, he introduced Lorenzo to Inas' parents for a dinner party, and was kicked out when Inas' father started a blatantly violent showdown with Lorenzo. Live because he was a bystander. Goya's transformation in the second half of the film makes him a bridge between Inas himself and Lorenzo. He takes care of one side, questioning the other, and he's also a middleman, a bystander looking for a balanced relationship.
After watching the movie, I realized that the director of "The Biography of Mozart" directed this film. Suddenly, I felt that the tone of the picture was similar to the overall style. I wonder if it was a psychological effect.

View more about Goya's Ghosts reviews