7.9
Love is probably like this, or not at all - how do I understand love? There is a certain level of drama in it, and it is deliberately hidden from the audience, and the form is overwhelming, completely blank in some places and too specific in others. We acquiesce that it all has to be immediate, effective, concrete, planned, declared, because we have a desire to control. Marion Bard doesn't even exist on the map, and nothing happened last year, even though that's something I know all too well.
The possibilities of movies like stage play have been exhausted, like painting, music, architecture is almost the same. Director Allen Resnais misses the kind of film in which text plays the role of music, and hopes that the words of the characters are full of melody, so many people say that "Last Year at Marienbad" is close to literature, but I personally think it is more like sculpture. Solid, still, observable, tactile, plaster, resin, clay, wood, stone, metal, jade, agate, the faces are rigid, rigid, focused, indifferent. The ornaments, the siding, the whitewashing, the wall moldings are endless, the countless doors, the countless walls, the countless corridors, and the countless mirrors make it extraordinarily detached.
In fact, the universe has been included in a small box for a long time. It is not continuous but discrete, viscous and cyclical. The entropy value increases with the passage of time, and finally reaches a state of "heat death". Borges has this nonsense in The Book of Sand, "If space is infinite, we are at any point in space. If time is infinite, we are at any point in time." Love the mirror and the maze, because the mirror will continue to extend time and space, and the maze will bring everyone back to the same place again.
In my back garden, I can see two trees outside the wall, one is a jujube tree and the other is a jujube tree. Everything constitutes a maze, perception, entity, mind, matter, experience, memory, X's language, A's photo, M's game, out-of-sync audio tracks, aggressive images, ambiguous texts, inconsistencies narrative, and space and time are already the simplest of them all. The era of Balzac was stable and complete, while that of Alain Robeglier was floating. He claimed that "the screen is not a window to the world, the screen is the world itself".
Bertrand Russell assumes that the world was created only 5 minutes ago, and both history and memory are illusions. A bottle of Latour wine from 1945, a yellowed Gutenberg Bible published in 1457, fossils, carbon-14 dating, astrophysical evidence on the age of stars, Hubble time, all of the above They cannot be used as counter-evidence, because the time they represent has no real meaning like the time shown by a clock in a painting. Humans can only peer into the world through a tube and can't see through the wider picture, so how do they make their living but shaky linear logic come in handy.
Artists always hope to express human thinking in the form of architectural entities, in the form of rings, cones, spheres, and radials, but images can be improved on this basis, and the spatial beauty it creates is enough to confuse reality and deceive. The time entity is also completely dismantled in this film, the reason happens after the timeline, but the result happens before the timeline. From this point of view, changing the past is no longer to change a given fact, but to choose another from the endless possibilities. The characters are all depersonalized, making the individual become the whole; memory is not the status quo, so the heroine is caught in a Cartesian dilemma. The concept of "Last Year at Marienbad" is not very complicated, but the effect is outstanding, and audiences who love to use their imagination should like it.
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