This film adopts a dual-space-time non-linear narrative structure, adopts a large number of flashbacks and flashbacks, breaks the narrative framework of traditional movies, adopts a jumping and changeable time-space layout, and creates a rich and secret inner world through inner monologue. The narrative of this stream of consciousness is erratic and fleeting, making the film fragmented and obscure, but it hits the heart in the details, causing the audience to think deeply about this tragedy of war and love.
The first characteristic is that it is real and moving, and directly reflects the anti-war thought. The whole film does not have a central event, there is no coherent storyline, and the screen is always interrupted by various memories of the heroine. The film begins with a man and woman embracing each other, their bodies covered with beads of sweat. who are they? what happened to them? The film doesn't make any foreshadowing statements about it. The film exaggerates the sweat on the protagonist's body, thereby linking it to the cloud of the atomic bomb, which in turn brings the film into an anti-war theme. The dialogue between the heroine and the heroine begins with the memory of the disaster caused by the atomic bombing of Hiroshima. One after another, tragic pictures are displayed in front of the audience. The damage of the atomic bomb continues, and people are waiting to die. The detailed picture materials, original video, and the memory of the protagonist provide the original state of war crimes and bring direct spiritual shock.
The second characteristic is that the time and space are changeable and erratic, showing the true thinking of the characters. Jumping and changing time and space patterns, abandoning the traditional linear narrative, using a large number of flashbacks, the screen jumps frequently, going back and forth between the past and the present, history and reality, completely breaking the boundaries of time and space, reflecting the diversity of consciousness and stereoscopic. For example, in the hotel in the morning, the male protagonist is asleep, and his hands are wriggling in the dream. At this time, the picture suddenly jumps, and a young man is lying on the ground, his hands twitching. The suddenness of this flashback scene breaks the previously flat narrative rhythm, and highlights the deep-rooted subconscious memory that the heroine is trying to forget. And when the heroine tells the hero about Navel's past, the whole narrative uses a lot of flashbacks, jumping from the coffee shop they are in to the Lova River, the cellar, her room, the street. . . These constantly alternating pictures break the limitation of objective time and space, make the psychological time and space get a natural extension, and increase the audience's imagination and thinking space. Although these dizzying pictures are broken and chaotic, they present the original consciousness of the characters and reflect the inner truth.
The third feature is a large monologue, directly attacking the heart, and deeply expressing complex thoughts through the inner activities of the protagonist. After the heroine and heroine separated, she poured water on her face in front of the washbasin, and had a monologue in front of the mirror. There are three pronouns in this monologue at the same time, reflecting the subconscious thinking activities of the characters. After the heroine and heroine met, a mixture of various emotions appeared in her heart, the excitement of love coming again, the nostalgia for past lovers, the guilt that forgetting is betrayal, and a kind of relief and hope for rebirth. The whole film does not follow the linear structure of beginning-development-climax-end, but focuses on the characters' messy, scattered and secret but most real subconscious thinking, dilutes the plot and penetrates into the hearts of the characters.
The fourth feature is to properly reflect the double-layered theme. Anti-war and love are the two themes of the film, which are vividly expressed by the film's unique narrative structure. Emotional sweat is represented as an atomic dust-like analogue, followed by the tragic scene of Hiroshima after the atomic bombing. Mixing ambiguous sex scenes with the Hiroshima disaster, the two talk about human tragedy while they are happy. Let us not be able to tell which is the object of love and war. Love is always interrupted by war. The tragedy of love and the tragedy of war have reached a deep fusion.
In general, the external reality presented by the film is a never-ending exotic love between the hero and heroine. However, this reality is always fragmented, and every detail can involve the heroine's feelings about the war and the love affair many years ago. A painful memory of a love tragedy. A large number of flashbacks and flashbacks break the boundaries between the past and the present in editing, forming a stream-of-consciousness narrative technique with interlaced time and space, which fully reflects the duration and flow of conscious activities.
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