The sense of division in "Red Desert"
The dignified and gloomy and beautiful image style of "Red Desert" does have a good effect on expressing the cold and heavy feeling of the industrial city, but the success of this good effect is limited to the location shots. The expression of "people" is failed, thin, unnatural, and rigid and symbolic, so the viewing process has brought a serious sense of separation to the author, and whenever I see a highly stylized location shot, I can't help but sincerely appreciate it. , but once the camera reaches the character, every minute becomes very difficult, boring and meaningless.
Should creators take the initiative to help audiences understand that moaning is really caused by "illness"?
The director focuses the narrative lens on a heroine who is ill due to the isolation and loneliness of interpersonal relationships in an indifferent and depressing industrial city. The whole film focuses on expressing her loneliness and pain, but avoids the whole process. The "cause" of the heroine's pain only shows its "effect". Even if the heroine is set as a mental patient from the beginning, it can explain a series of exaggerated (here exaggeration only refers to the performance range) of the neurotic physical performance of the externalized painful emotions after the heroine, and also escape smoothly. It is a arduous project to construct the cause and situation that causes the heroine's morbid spirit, but this project that was escaped by the creator is very important to the audience, because the audience is not the heroine herself, the more heterogeneous the character, the more The more personal emotions and thoughts are, the more difficult it is to enter. Generally speaking, even an audience with a relatively high level of aesthetics and understanding needs to understand the heroine's spiritual dilemma, and the creator needs to give enough "cause" performance and presentation; further, if you want to get the audience If there is a resonance, then it is necessary to deal with the main characters felt by the audience into people with a living breath.
For example, the male protagonist in "Guling Street" is also a heterogeneous character (a juvenile murderer). It is difficult to truly enter into the painful inner world of a juvenile delinquent and shed tears of sympathy and sympathy for him; if there were fewer foot-beating episodes in "The Big Red Lantern", the audience would not have been impressed by the kind of conquest of the compound. Women's mysterious power (that is, "cause") has a real experience, and it will not enter Songzhi's heart and accept her mentality change; it is also "The True Story of Ah Fei" that does not pay much attention to narrative, the heart of a libertine "I'm empty, you know? I'm empty inside" to the supporting characters, and the pain of the movie is not something that can be immersed in the audience's heart by a few dry abstract monologues or a few hysterical externalizing body performances. We will see the living sets and ambiguous lights, see the hero's oil head, clocks, boring eyes and sweat after sex, see his real rotten life and flower games, and see his adoptive mother and biological mother. The mysterious abandonment and stare of him...Under the elaboration of these "cause" situations, the audience feels the breath of a living person, and the threshold for the audience to enter the character's heart is subtly removed by the creator using mature skills, and the audience does not He was coldly dismissed by a self-proclaimed expressor, but was sincerely accepted by a skilled artist into the implication world of a deep understanding of the film.
The failure of this film lies in this. The consequence of escaping "cause" is that the heroine's struggling and painful gestures in the film are all turned into private babble and groaning gestures that are repelled from the audience. On the threshold of the road, it has already been very crowded (it is estimated that it will be directly dismissed by many audiences who do not buy it as the hypocrisy of Little Bourgeois). And the existence of the heroine is just a mentally ill character fabricated according to the director's own "philosophical" expression needs. It is functional. Not only the heroine, but all the characters in the film are also functional abstract symbols. The paper man, whose way of thinking, behavior and emotional expression are highly abstract and extremely simplified, pursues a metaphysically refined and concise effect against natural reality, making the characters look like Mondrian's paintings and MUJI. The furniture only exists as a symbol of pure abstract thinking that is divorced from reality, which makes no character "living" and real. This makes it even more impossible to get empathy from the audience.
It is true that the purpose of the creator's expression may not always be to achieve the effect of allowing the audience to penetrate into the hearts of the characters, nor does it necessarily require them to have deep empathy and tears. However, the author always believes that successful expression requires at least the understanding of the audience. And the director should not set the threshold for watching the movie, because as a film that is publicly shown, its expression has its own communication attributes. A mature artist should have the ability to control the audience's view with superb skills. It's what the movie time can finally understand and feel, not the other way around.
Attachment: personal complaints
Wow this is the worst movie I've ever seen in my life (though I've never seen many movies), every minute of the viewing process was a pain. The European and Japanese masters of the black-and-white era of the last century, like Godard, Truffaut, Bergman, Antonioni, and Mintarkovsky, are really collectively stranded in my aesthetic blind spot. The kind that I don't want to see any other work of this gang. Dedicated to exploring a kind of narrow and autistic private "philosophy" and to match his purely abstract and minimalist "philosophy", he artificially fabricated a symbol-piled film world that is separated from complex reality (their thoughts are not necessarily It is superficial, but a failed expression will make even the most profound thoughts and heavy emotions eclipsed in the final presentation), I think the level of creative thinking is similar to that of many second-year teenagers in station B. The pure metaphysical philosophical spirit of Bourgeois's free rationality cannot be appreciated.
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