Bellatar is a Mount Everest to many current directors.
God created the world in seven days, there was light on the first day, the light disappeared on the fifth day in the movie; water was created on the second day, the well dried up on the fourth day in the movie, and the seventh day, there was no seventh day in the movie because it Not a divine creationism, but Beratar's view of creation. Many people say that this is an anti-Nietzsche (specifically refer to a large paragraph of the fat man at about 1:04) and a philosophical film. I think it's more of a pure movie, where humans become flesh (draw water, dress, feed horses and eat potatoes...) a flesh that does these repetitive actions, doing the same thing every day, but Bellatar fills the pit of plot repetition perfectly, even if it is eating potatoes, it becomes different with each day of "creating the world", the way of camera, the movement of characters in the scene, and you seem to think that they are doing different things Not only that, from the first day the groom hurriedly ate the potatoes, the girl ate slowly, to the fifth day the groom only took a bite, and then to the sixth day because there was no fire and no water, the two of them changed their plates. It became a raw potato, the groom told the girl "you must eat" (this is what the girl said to the old horse on the third day), the girl refused (perhaps after the arrival of the gypsies and the failure of the fourth day, The girl's mood has changed, and she and the groom are in opposition for the first time)
In addition, in Tal's pure film, there is basically no emotional intervention, but it can still infect the audience's emotions. How is it achieved? After watching it, I couldn't help but remember the only piece of music used. There is no other soundtrack in the movie, only this song and the same soundtrack. It is conceivable how profound Tal's skill in using sound has reached, returning to the basics. Music is indeed the most emotional form, how to use it to the greatest extent, Beratar did it.
Every day in the film is almost a complete body, and there are basically few cuts. I have to say here that Bellatar is a poetic long shot, scene character scheduling, and clean comprehension of shots, which must be very rare. what a director can do. It is not an exaggeration to call him a master.
After watching this "Horse of Turin", I seem to appreciate the power of black and white movies. Especially in this period of color cinema. And the Horse of Turin is the first work I saw directed by Tarr, and I am looking forward to the remaining few.
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