Gaspar Nou has always provoked the audience's bottom line of tolerance with shocking themes and images. This year's new work did not enter the Cannes competition, but went to the relatively low-key "Director's Fortnight" unit, which still attracted strong attention. Compared with the previous bold and astounding works, this new work is relatively less offensive and unexpectedly realistic, and it is not uncommon to see it as an anti-drug propaganda film. At the beginning of the film, it’s a bit unusual to post the list of all the cast members. The next interview with various dance performers has a strong documentary meaning. It is difficult to distinguish whether it is a real interview or a fictitious line. Let the audience mistakenly think that this is a documentary about a dance orchestra. Coincidentally, this film, like Luca Guadagnino's "Wind Winds", uses dancers as the core characters of the narrative, and both have scenes that take place in the rehearsal room. This work has a wonderful and worthy prologue: In the colorful underground dance studio, a fixed long lens shoots many dancers taking turns to show off their talents than "dance", with a strong rhythm of music, creating The bloody atmosphere once again made the audience mistaken for a live record of a dance competition. But when the music stopped, we realized that it was just a dress rehearsal, and then the camera began to follow the characters through the dance studio, which seemed to be isolated from the world. If it weren't for the beginning of the film to suggest that this is a story that took place in 2006, it would be difficult to feel the background of the times from the characters and the environment. This is not very similar to the expression method of deliberately rendering the atmosphere of the times in "The Wind and Wind". On the contrary, I think this work is like Russian director Alexander Sokolov’s "Russian Ark". The whole story takes place in a confined space. The camera follows the characters in the museum/dance studio, but this "Climax" did not challenge the endurance of the audience with a 90-minute long shot to the end. Nevertheless, this long shot can be regarded as the most complex in Gaspar No’s work. The last half-hour-long sports shot is considered a bold attempt with good results. I think it’s difficult to compare with Bi Gan’s The long 3D shot in "The Last Night on Earth" is not the same. The 360-degree non-stop rotating and completely upside-down lens design allows the audience to feel the scene of the characters in the play being unconscious, confused, and even crazy and out of control after drinking a drink mixed with psychedelic drugs, and then the dancers are unbelievably self-harm and bloody. The portrayal of violent, chaotic behavior is regarded as a sign of the director’s usual tastes and bad tastes, but this time the director seems to act as a spokesperson for anti-drug propaganda, allowing the audience to thoroughly experience the great harm of psychedelic drugs to the body and mind, and even The parents of their children are even more shocking! Perhaps it was adapted from real events. I think the narrative part of the film is a bit thin. The lighting color, dance and music can be given full marks, which fully demonstrates the director’s author label characteristics. However, the conversation fragments and dialogue between the dancers are full of extremely boring male hormones, and women who are jealous and intrigue with each other. The portrayal of the characters is also relatively shallow. The design of the queer characters is just a glimpse, but unfortunately there is not much extension. The most important thing is that the element of "dance" has not given much promotion to the narrative festival, or created any space for association, just showing the dancers' superb dance skills, which is really a bit wasteful. From this point of view, "The Wind and Wind" does a better job. Satan's sacrifice is closely linked to dance, creating a sense of horror and suspense in the image. Perhaps it is the relationship of age. Gaspar Nou's new work seems to be more mature than before, gradually getting rid of the narcissism of being too addicted in the past, and beginning to extend the tentacles of the work to the real world, proactively sculpting out whether there is or is not. The social significance of is really rare.
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