The real thing about it comes from the tediousness it gives back to the audience.
Almost everyone in the play is in a futile quest for sensual pleasure. Their lives need stimulation to counteract mediocrity. These stimuli are as volatile as the alcohol rubbed on the skin in midsummer. After the volatilization, the original cool place will be more sticky and sticky.
Anna can only be someone who stimulates them and makes them feel like they can get out of doing nothing.
When she was swimming she said there were sharks, so they believed there were sharks. It made them feel like they were taking a risk.
Anna disappeared after that.
143 minutes of long time (I dozed off for 60 minutes in the middle, woke up and pressed the rewind button to return to the screen before going to bed and play it again!~).
Black and white images are like old pictures in a fun-hook mirror.
A group of careless rich people, a never-ending disappearance and a never-ending search are destined to fail to highlight a clear theme to the audience. They lead their more tedious lives under the guise of finding Anna.
During the search, they seriously complained that the weather was too hot, they concentrated on admiring the scenery along the way, they took back the clay pot they found like a treasure, and studied it with everyone. You can't fall in love with anyone, and you can't be loved by anyone. A love so superficial that even true loneliness cannot be achieved.
Or even they don't seek for the purpose at all, they just try to break through the entanglement of boredom.
Anna may have left the island, or died somewhere. In short, they seemed absent-minded about her whereabouts and her life and death. Along the way, they visited art exhibitions, played in the clock tower, quarreled with strangers, looked at public cemeteries, deliberately knocked over other people's paints, and had serious sex in the wasteland...
When all the excitement subsided and fatigue returned, they began to focus on Anna again. This makes them feel like they have nothing to do.
When the film was voted best picture in 1960, it drew boos from the audience.
More than half a century of black-and-white films can still be framed in reality now, and the water chestnuts match.
The powerlessness brought about by the mediocrity of life makes you look at other people's stories and at the same time peep at yourself.
Without too many joys and sorrows, return life to the real state of stability and forbearance. You will be like them.
Time overlaps.
Roaming the streets in the evening. Going to a restaurant you frequent for a long dinner, it's not that the food is so delicious that it is worth savoring so carefully, nor that the environment is elegant and comfortable that you should sit for a while, such a big city, you just don't know it Where to go.
Can't fit into life. So it can only be integrated into life.
Here, cinema becomes an inescapable tool. It does not give you the visual impact, auditory shock or resonance of people's feelings like other blockbusters, a world that allows you to temporarily escape, a time to escape.
The film does not bring hope, nor does it bring disappointment. As Antonioni said in "Days on the Clouds":
-Are you afraid of death?
- I am afraid of life, afraid of the inevitable life.
But it is useless to be afraid, even if you have seen the essence.
Such a story (perhaps it can't be called a story), if people say that life is like a drama, does Antonioni want to say that life is really not a drama?
Close your eyes. The world has come.
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