Justin Benson's "Love in the Early Spring" (2015), although unconventional, has its own characteristics. Evan, who came to the islands of southern Italy to travel from California, met Louise, a beauty who claimed to be a graduate of biology, and fell in love with the shock of early spring. Gradually discovered that Louise is weird. Evan, who had witnessed the truth, did not abandon her and flee, but instead loved and courageously.
It turns out that Louise was a famous person two thousand years ago. She relied on stem cells to reactivate her life. The life cycle is once every twenty years. For this reason, she needs to inject embryonic stem cells continuously to avoid body decay and genetic mutation. She keeps giving birth to new herself, of course, she also needs to kill animals like rabbits in order to ingest new cells. What is even more worrying is that even she herself does not know what will become of the next twenty years. But under normal circumstances, it is no different from a person.
As Louise said, "Do you know that my eyes have two colors".
This means a sad ending. Such a supernatural and sci-fi suspense movie, it is a kind of helpless tragedy to make it into a romantic movie. The play is not enough, love come together, ghost come together, scene come, all can be OEM together.
This reminds me of "Mekong Hotel" (2014) in Apichatpong in 2014. The Mekong River relies on the pao-po who eats human offal, so ordinary people like Adong, Afeng, and Aunt Zhen are so deeply involved that they can't distinguish between dreams, hallucinations and reality. In the end, Aunt Zhen sat in the house and wept bitterly, which made people worry. It seems to be telling the endless sadness of the Mekong River for thousands of years.
Poetic love is just an imagination accompanied by melancholic guitar sound. Only the Mekong River, which flows across the border between Thailand and Laos, still flows quietly. A 60-minute movie feels like an unprecedented slack. Only the seemingly peaceful Mekong River changed without surprise. The lurking Pao Po is just a kind of arrogant one, as well as a scourge of raging beasts during the rainy season.
People, nature and sex are still the constant themes of Apichatpong.
To this end, he needs to dilute the theme of the movie, dilute the performance of the actors, and omit the role of props. Such a movie makes the omnipotent Paopo very sad. In fact, no river is worry-free. The Mekong River reminds me of the overwhelmed Yangtze River, the scarred Yellow River and other rivers of the motherland. The source of the Mekong River is the Lancang River. Is the dam still being built? It flows to the sea after all, and that is the source and body of all rivers. Smooth flow is just a hopeless luxury for these rivers.
This is the difference between movies. There are also ghosts and ghosts. "Mekong Hotel" goes deep into the human soul and analyzes a river that is endless and devastated. But the not-so-good "Love Is Thrilled in Early Spring" is entangled in the world of two people. Of course, it is in vain to discuss two completely different types of movies together.
Homosexual directors such as Apichatpong, Almodovar, Xavier Dolan, Cai Mingliang and earlier Fassbinder, inevitably dismember the opposite sex in the film, this kind of uniform exclusivity, love Excusable, but also implicit in commonality, whether it also implies their inner helplessness, fear and resentment towards reality. Only in these years the Almodovar style has gradually become more joyful.
Objectively speaking, I still praise the Sicilian style pervaded in "Love in the Early Spring", and the spiritual transformation of human beings is indeed very innovative. Then let us forget about "Mekong Hotel" for a while.
The past was like a bridge, but today it is a barrier. The flow and change of everything has its own rhythm. Whether it is sad or perverse, let us adapt to the weird changes of this era, without having to pay for future uneasiness in advance, and be calm and clear.
2015, April, 28
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