Aaron Renais said: "The whole film is based on contradictions, which in turn include the inevitable, horribly forgotten contradictions. The sadness and insignificance of an individual against the backdrop of a collective, great tragedy. The contradiction between fate." Rather than questioning and expressing the meaning of all things, the authority and importance of memory, carried by the spirit of the times, it is more about visualizing the state of real personal thinking. Like an atomic bomb broken in the spirit, "Hiroshima Love" has also held the banner of the transition of Western films from the classical period to the modern period in the history of film. The stream-of-consciousness technique draws on the deconstruction of the narrative structure of traditional films, and opens up the expressive time and space of modern films. , flashback/sound-picture counterpoint/space-time cross-narrative... The stream-of-consciousness technique tries to show the essential state of psychological space-time, dilute the boundary between past-present-future, and memory becomes a synchronic parallel existence. The text is hidden behind the image, supporting the whole film, completing the wonderful invisible writing. Love/memory transcends nationality, race, life and death, flesh, and becomes eternal like fossil space (Hiroshima/Navel).
"The influence of the death instinct on the sexual instinct is that only when people have a consciousness of death can they truly understand the meaning of sex, and only when they face death can they experience the ultimate love." The instinct of love/sexual desire bursts out in The brink of death, recalls death, war, humiliation and farewell in Hiroshima's dewy eroticism, to narrate the rebirth of awakening memories: "Incorporate this horror into love and raise it from the ashes".
"Memory is a phenomenon that is always present in reality, an experienced eternal connection to reality, made up of the twigs that support it; it is blurred, mixed, one, or floating It is full of special or symbolic memories, and it is sensitive to any changes, various scenes, censorship or screening.” The opening ten minutes are particularly amazing, the whispering words connect the fragments of the scarred memory, connecting the fate of the individual The copulation with the collective memory is figuratively mixed among the hugging men and women, and the body is covered with vague gravel. With the touch of two regional spaces (fossil space), every call of the plot highlights the state of time under which it is presented—it can neither keep capturing the moment nor preserve the memory, from the appearance to the heart. Our experience is a synthesis of three times (“was-now-future”). And all things are given to us in this sense of time. Therefore, things and spaces contain the remnants and condensations of time, which inhabit the souls of the past, and also contain expectations towards the future. But we cannot relive those durations that have disappeared, we cannot relive those durations that have vanished. We can only think of them, in abstract, single-line time stripped of all thickness. Only by virtue of space, in space, can we find beautiful fossils formed by condensed stretches over a long period of time. Memory is preserved in space, and the psychological time that is constantly intertwined and infiltrated is enlarged, so that countless "broken, disordered parts and fragments based on life" are collaged together, reflecting a three-dimensional and diverse life experience.
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