"The sun burns too fast in the sky of Naar"

Virgil 2022-01-16 08:01:59

The director may be aware of loneliness, but he dare not act lonely (Charlie Kaufman expresses his anger). Wang Bo, who died before his death, wrote cruelly: “Guaranteed mountain is difficult to pass, and those who have lost their way; meet by the water, they are all guests from other countries.” (Wang Bo, Preface to the Pavilion of the King of Teng).

But loneliness is actually a false proposition. First of all, loneliness is not isolated. It is rooted in communities and links. This is why the most self-conscious and loneliest artist in art history can be understood and touted (not necessarily the public, sometimes It's a few or even a single person, another person, but always searching, isn't it?), the paradox is, in this way, can loneliness be called loneliness? Even what Blanchot calls "essential loneliness"? So Brownshaw would write: "When I am alone, it is not that I am there, it is not you, nor other people and the outside world that I am far away from" (Blanshaw, literary space)-loneliness is a hypocritical concept, let alone Originally, like art, loneliness was a grandstanding performance, and this is its root, because together with "I" is also a false concept, "I" must have the existence of the other, that is to say, I am just a fake Echoes of, when I ask me, I will only see you, and then (if lucky) I will only see nothing: loneliness is always social, not loneliness, the generation and resolution of loneliness points to the other, to After another, loneliness is no longer pain and misfortune, so art, if art is no longer the art of seeking others, what will art be?

Quinn said, "All languages ​​are public." As long as you think (and thinking is words and nothing else), you enter the public space. Wittgenstein said, “the real private language does not exist.” Then, what should be pursued is this non-existence, and the pursuit of this “nothingness”. When I start to say “nothingness”, the “nothingness” has already entered. Exist, this paradox is the true loneliness of man, the loneliness of man, "We read that God is/a part and a moment, a scattered person" (Paul Celan, "Where Are You Tonight" ), God is not a holistic person, let alone a man made by tufted soil? (Not to mention the person made by the sperm and egg), "When I become dust, you will see my smile" (Lu Xun, Weeds·Grave Jiewen), so the real question is: Before you turn into dust (" Before", but time has been cancelled here, that is, history/time), you have to question yourself, why do you paint? Why do you want to write? You-already exist (is that sure?), but-you, why do you want to exist? "

From (the real at the end of the film) Other:

"In my yellow house, a purple-hearted sunflower jumps on a yellow background, stretching its branches in a yellow flowerpot on the yellow table. In the corner of the painting, the artist's name is signed: Vincent. Yellow. The sunlight through the yellow curtains dyed the whole room golden. In the morning, when I woke up from bed, it all smelled great. Oh, yes, he likes yellow, this lovely Vincent, a The artist from the Netherlands, those dazzling lights ignited his soul, far away from the fog, longing for warmth, in those days when we were in Al, we were both crazy, we were fighting side by side with beautiful colors, and I fell in love with red, I Where should I look for my bright red? He used the yellowest paintbrush on the wall with a vigorous wave, and suddenly turned into purple. I am God, and I am the voice of God.” (Paul Gauguin, 1894)

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Extended Reading
  • Edd 2022-03-24 09:03:18

    It's too tricky to use Van Gogh and Gauguin to chat. The director has been engaged in neo-expressionism for more than 20 years before, but he has not given up painting yet. In fact, the filming of human faces in this play is very good, especially in all the dialogues, the faces of the two people are constantly reproduced in a transfer-style lens, and the texture is like a sculpture. The idea of ​​the whole movie is a bit earthy... It's really uncreative to choose the theme of Van Gogh. I actually don't want to see any fictional profile of an artist, but I also don't find it offensive that he portrays such a van Gogh. It's boring to restore it completely, but the category of biopics should die soon, and I don't want to watch it anymore.

  • Alivia 2022-03-30 09:01:09

    Perhaps like the (daringly) repainting of Van Gogh's painting in the movie, this is exactly what a director sees as the genius of Van Gogh. He is trapped in hallucinations, but has a discerning eye; he is impersonal, but he reciprocates; he is fragile and sensitive, but full of passion; he is poor, but rich in heart. He is willful and irritable, and will cut his ears for friends to leave; he loves nature, and suicide is not his style (the director adopts the theory of being mistakenly killed by two young people in recent years). As expected of the director of "The Diving Bell", Van Gogh's spiritual world and pursuit of art can be properly expressed with light, shadow and silent lens. Willem Dafoe, a 63-year-old actor who plays a 37-year-old painter actually does not violate the harmony (is he a vegetarian because he is so thin?), and has climbed to the top three in my heart.

At Eternity's Gate quotes

  • [first lines]

    Vincent Van Gogh: I just want to be one of them. I would like to sit down with them and have a drink and talk about anything. I'd like them to give me some tobacco, a glass of wine, or even just ask me, "How are you today?" And I would answer, and we would talk. And from time to time I'd make a sketch of one of them as a gift. They would accept it, maybe, and keep it somewhere, and a woman would smile at me and ask, "Are you hungry? Would you like something to eat? A piece of ham, some cheese, or maybe a fruit?"

  • Priest: Tell me frankly, because I'd like to understand. Why do you say you are a painter?

    Vincent Van Gogh: Because I paint. I love painting. I have to paint. Always been a painter, that I know of.