"People's life is also weak, and their death is also strong. Therefore, the strong will die, and the weak will live." Taoist wisdom is the main line of this film. The best of youth, youth is the starting point of life. The young people here face the world with different eyes and moods, and the story begins from here. Zuozhen is a metaphor for the problems of this world. Madio and Nicola try to face and solve them in different ways. In the film, when the two say goodbye at the station, it means the development of two lives. Time is a friend, and Nicola, who enjoys the process, becomes a youth who solves problems. In the film, when Nikolai finds Zoe again and asks her to water the plants every day, the scene is moving, we see the calm and calm mind behind the cold reality, which may be the best the director hopes to find. Bar.
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Nicola and his wife Julianne are the secondary lines, and the director explains in a straightforward way how cognitive differences can affect the direction of life. As a student, Nikolai participated in the student movement together with Julianne, and his ideas were equally radical, but he has since stepped out of his passionate and idealized cognition. In the film, when Nikolai takes his daughter through a smoky leftist meeting in a mocking manner At the time, it implied a complete change in his cognitive style, and he moved towards the embrace of science and rationality, which may be the second best the director hopes to find.
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The third line is through the elaboration of love by Nicola and Mario's parents. In the film, the father insists on letting Julianne play the piano, trying to establish a link of love, which echoes wonderfully at the end of the film, when the daughter asks again Julianne plays, with the melody recalled, hinting at the final realization of the link. In the film, the mother insists on visiting Mario's paralyzed friend every week, which is the director's understanding of love. The importance of love lies in the connection and tolerance with the incomplete. Mario talked about this twice, reflecting Mario's lack of love with a clear distinction between good and evil and a strong principle. Mario finally fails to get on the phone with Mirella, suggesting the final break in love, in the background of fireworks, jumping off... However, the beautiful fireworks seem to imply the director's reservations about his life. Isn't this brilliant? -----------------------------------
Some small clips are also worth savoring, Nikolai's friend faced unemployment, and finally became a "construction boss" from a "construction worker", implying our proper attitude in the face of setbacks. Another friend, who still chose to stay in the country under the threat of his life, implies the strength and perseverance we should have in the face of difficulties and fears.
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Nicholas, in a gentle, tolerant and even lacking principle, but full of rational science and full of love, eventually changed the world a lot, changed psychology, changed the law, cured Zoe, …
However, is this the best of youth that the director wishes to articulate? The problem is that, in fact, Mario's early departure means that Nikolai can never change Mario. Perhaps complexity and diversity are the ultimate best in life. After reading it, I wonder, why are there such big differences in personality and cognition between two brothers from the same family and educational background? This is not normal. However, from the point of view of Dao Shengyi and Yisheng 2, this arrangement is very ingenious.
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It was the first time I watched a 6-hour film. The film was flowing, and I learned a lot. This film shows the cultural depth of a nation with thousands of years of inheritance.
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