There are countless film and television works with World War II as the background, whether it is a half-covered story or a direct attack on the meaning of death, war has always been the protagonist of those works. It is a monstrous pollution that monitors and controls the work. As long as a drop is dropped, the story is sour, dirty, and full of hot tears.
"No Man's Work" clearly challenges the authority of war. It does the opposite, placing war in the center of the stage, but makes it completely serve as a backdrop. It is just a piece of film suitable for film. The obscuring of the text makes it easier for the director to talk about it and discuss more difficult "real" issues. This should be a vivid and vivid philosophical discussion class. The director introduced war and introduced art, which is nothing more than an exemplary dimension of "reality".
Through the mouth of the aunt, the mouth of the first generation of Elizabeth, the stare of reality is emphasized. After her aunt was forcibly dragged into the carriage of the mental hospital, her beauty has been torn up, but she still wants Kurt to see it. No matter how painful or terrifying, you must stare for a long time, and you will realize the essential truth of things, and will remove the interference of a personal emotion with the real existence. That's why the camera must have Kurt witness Elizabeth's insane body before. Elizabeth sits in front of the piano without an inch, and the camera slowly flows through her oil painting-like texture. We can quickly realize that there is no lust and shame in it. This is a powerful reality. She is as harmoniously real as the melodious high notes on the keys and the horns of dozens of cars in the parking lot. A reality, nothing more.
So when kurt stared at her, she was no longer a kinship aunt, she was just any naked woman in the gallery, and of course we could call Elizabeth by another name: muse. It is no accident that the same Elizabeth, from the little aunt to the future wife of Kurt, shared the soul of the muse, which inspired the tremors of inspiration in the artist Kurt, and created those two extraordinary masterpieces. Aunt's embrace of kurt is a constructed mother and child, the connection between kurt and muse is still weak and unstable, and in the last picture of kurt's pregnant wife, he has become a child who enjoys all the care of muse , the child soaked in real amniotic fluid by the muse, in the blood of the umbilical cord.
The pregnant Elizabeth II walked down the steps, and it was the god of the muse who came step by step with the truth of the creator.
What exactly is real? On what scale can the artist obtain the truth he seeks? What is presented, can it be recognized as real? The best extreme example of a solution to this problem is precisely war. This sensitive, heavy, and mysterious issue that has been shelved because of moral discourse, is not suitable for understanding. People can't face the war calmly, and they can never really dissect it, and this is precisely an extreme state of people's lost in the real state.
When people wander in the world of words, they are always in the process of gradually losing their "truth". Babies who have fallen to the ground can't get a kind of pure reality, because they see with hungry eyes and strong curiosity, so that things are covered by strong desires.
The director depicts World War II in "No Master's Work", intervening in it as much as possible with the language of the camera lens and the language of music, completing the maximum distance. On the dream-like Monet-colored hillside, with ribbons flying in the sky to interfere with radio signals, Kurt looked down at the war-torn town below the mountain, avoiding his mother's attempt to cover him. hand. This war is like a fragment of a dream, kurt does not react, there is no horror, sadness, anger, he just stares, he becomes a mirror without waves, so he can thoroughly reflect the truth. In order to further eliminate the misjudgment that the painful flesh and blood will bring to our judgment, a magnificent classical music sounded. One second, the bus driver had a nostalgic smile when he returned home, and the next second, he was blown into two sections under the bridge hole. When the bullet pierced through the bodies of the two brothers, it was too late for them to call for help. When crushed to death by the burning beam, we could only hear a few muffled thumps as the flesh took on the wood. There is no grand grief, no time to take into account the pain. When a person dies, it is so hasty and dull, and that is part of the real sequence.
After experiencing all this, Kurt's "untitled works" created by epiphany in the studio point to his understanding from these observations and to the power brought to him by Elizabeths. kurt has mastered the self-consciousness of being an artist, that is, to cancel the ego, to be an anonymous person, to be a witness without personal qualities, an anonymous person who repeats and records. Where to place the ego has been much debated. But when the director takes the war as the object, and the deepest misfortune and confusion as the object, only the anonymous can have the explosive power in safety and the freedom of speech.
At the end of the film, the director did not forget to be ironic. The reporters sitting in the gallery interviewing were ugly, and they wanted to peel off this "nameless illusion" with disdain. They wanted him to say it, they wanted him to express the conviction that there was a bloody, plentiful self underneath.
Kurt has been consecrated.
I liked him so much at that moment, with a specious smile, he sent them away. Just thought about it and did it. To stare. to see. Gaze turns a set of numbers into Tonight's Mark Six numbers.
When the lens of discourse power tries to find a corner in the gallery, journalists get lost. Officers, war criminals, and flags are truly intimidating them. People with strong named identities have long lost the ability to recognize and narrate.
They can only stand in front of a confused mother and son, and take pictures of objects that suit the taste of the camera. The reality is already full of visions and chains.
ps: Shirin, why don't you seem to be getting old at all? If someone needs to play Jesus, I will vote for you immediately. At the beginning, the male officer had the face of a standard fascist. Paula, my laurel tree, may you play the spiritually susceptible of all spirits.
(This speech is enough to prove that I can't be an anonymous artist XD)
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