Reinforced concrete ravages the green mountains and clear waters, and the ruthless high-rise buildings are armed with greedy and brutal souls. There is no peace here, they drive fragile lives and sweep the weak into dark despair. The world amidst ailments, happiness and wealth change on the spire, poverty and sorrow are piled under one's feet, tears burst, turning the blue of the clear sky into gray mist.
"Mein Herz Brennt" (Mein Herz Brennt), the roar of the German chariot, with compassion and encouragement, smashed the helpless wall with grief, turning into a force, like a hot wheel stepping on Lilia's feet, burning her The soul, beckoning her, ran to the death bridge of rest and enjoyment.
The picture is shaking, like the whole world is shaking in pupils, Lilia's running figure leads the footsteps of the camera, lifts the hijab of real life, and the pseudo-documentary shooting techniques are looming. "Forever Lilia" shows a gorgeous but final piece. The rainbow of youth that will be disillusioned.
Leading to the crossroads of misery and the "unknown", time has turned Lilia's life back to this point. There is a rather ironic prediction here, no matter what, the word happiness is like the scenery backwards outside the car window, and it will get further and further away from Lilia.
The low gray and cold slab building, like the wounded remaining in the ruins, stands expressionlessly on the desolate land. This is Estonia in the nineties. Like Lilia, this small country is a wounded child. On the face, you can see the shadow of the Soviet Union turning into Russia, and the reality of passivity and poverty swept away.
In just ten minutes, the sixteen-year-old Lilia finished all her happy life. Lilia, who had no father, was finally abandoned by her mother. Not only did her wish to go to the United States with her mother disappear, but the future life hope of "mother" was also shattered. The letter from her mother giving up guardianship pushed Lilia to the border of life and death. The ashes, the only unbreakable family relationship. What's more tragic is that Lilia lost her home, the house was occupied by the ruthless aunt, she was stuffed into the cold and dirty old apartment, completely orphan Lilia, transformed into shape.
Voroya, a twelve-year-old boy next door, has a family with a father, but the situation is worse than the children in the orphanage. Was driven out of the house, spent the night in a dilapidated and dilapidated factory building, and occasionally climbed to the sky bridge to feel the relief of "suspension of life", but always lived a hard life, for the Lilia he admired, and because of the existence of Lilia.
To show the growth of youth, many films are used to extending the results of rebellion. However, in this play, "Rebellion" is the poison that Lilia and Voroya have to drink. Because only "rebellion" can encourage their fearless courage, and all the adolescent pranks about escaping from school, mixing with hooligans, taking drugs, drinking, and all the adolescent pranks, in my opinion, are sad calls for help, but no one listens. See.
In Lilia's life, Voroya is indeed the only precious gift. When a good friend betrayed Lilia and passed his own misfortune on Lilia, everyone around her spit on her until one night, these gangsters ran into Lilia's house and violently destroyed her. The one who looked after her by her side had always been Voroya, and on that wooden chair, besides Voroya's name, there was also Lilja 4-ever forever. They were destined to be together.
Voroya secretly hid the pills. Such preparations were not premeditated, but like a perfect plan. Lilia repeated her mother's destiny, which was forced again. Survival became the biggest problem. She could only take the train to Moscow to sell herself like her mother, and abandon Voroya like her mother abandoned her. It may be different. When she arrives in Sweden and everything is settled, she will definitely pick up Voroya. But who knows? Didn't Lilia's mother suffer the tragic fate that Lilia wanted to break free later? Perhaps the old woman was also bought in the United States, although this is unlikely.
Andre, this seemingly clean and handsome young man. It was really like a shooting star, instantly illuminating Lilia's heart, and then leaving a darker and more terrifying black. The young man has no humanity, but he is very good at expressing love, and he is also very good at targeting the prey he needs. This is a society where the weak and the strong dominate, and money-related games have no bottom line. Lilia was in danger, even though Voroya's kind advice was blowing in her ears.
Since then, Lilia's tragedy of rebelling against fate has evolved into a pantomime waiting to be destroyed. And the central idea of this play has also been summed up, this world is too bad, indifferent, cruel, and helpless.
The scenes related to Voroya are very moving. This boy has a temperament that bears the burden of tolerance. It seems that he was born to suffer and to accompany Lilia. His beauty is like the sunset glow in the red sky, short but extremely gorgeous. Lilia's smile was so beautiful, she could feel the sweetness of the nectar after the rain. Perhaps it is the natural mature acting skills of the 15-year-old Russian actress Oksana. Seeing her smile, she can forget the ugliness and cruelty of this world.
The Swedish director Lucas Moodysen, who was born as a poet, chooses the subject matter and has a unique personal style. Paying attention to the disadvantaged, understanding the gap between the rich and the poor, and discussing the pros and cons brought about by globalization, these feelings connected with "love" were transformed into narrative poems by his lens, which won him the appreciation of the master Ingmar Bergman—— "Young Master". Perhaps it is the inherent sensitivity, richness, and delicate feelings of poets and novelists. His shots are full of poetry, eroticism is implicit, happiness leaves quietly, and sadness is the background that will not fade. Of course, his experimental film "Heart Hole" is absolutely abnormal. The judges of the film festival will all leave the show, which shows that it is "out of the ordinary".
Lucas Moodysson’s personality traits revealed in this film are manifested in the diversified interpretation of the character’s personality. All characters are multi-faceted and three-dimensional. The demons Lilia encounters are human beings brainwashed by money, and this ultimate step is reached in an ascending indifference. Lilia’s mother, aunt, friends, and gangsters on the street, indifferent government workers, they or themselves It is difficult or irrelevant, but they have all become accomplices. These people have no shining points, but they all have reasons for existence. They have reasons to live without faith, and they have reasons to choose the life creed of "people do not kill themselves for themselves". The sky above their heads is gloomy, and they are also victims. But they are by no means glorious victims.
As for the two victims with angel wings, Lilia and Voroya, only the two of them are pure and meaningful. One just wanted to play basketball in heaven, and the other would carry an angelic statue wherever he went. Two orphans, they help each other in reality and in emptiness, a kind of innocence that does not need to be explained, that is the love between sister and brother, mother and child, and love, interspersed with a heavenly story in the world.
As Lucas Mudison said, the child of Voroya that he is about to shape, has the soul of the salvation Jesus in his body. Therefore, the pain and abandonment he suffered were natural, it was a devastating revelation of reality, and it was to allow him to complete a greater salvation after rebirth. In this way, he would inevitably experience sacrifice, like Jesus nailed to the cross. And Lilia’s last jump was a complete roar and abandonment to the society. No matter how the angel Voroya praised the beauty of the world and discouraged her from cherishing her short life, it was just like what she realized when she smashed the painting of the gods. Pray, God cannot hear, she will no longer miss this hypocritical world.
In the last five minutes, the virtual reality was edited into a smooth picture, like a question sentence, if it could go back to the past, if Lilia did not abandon Voroya. But no matter what, the picture is warm. In the eyes of the viewer, the passing of a life is not alone, and Voroya will always guard her.
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