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Yes, "Knight of the Holy Grail" is the kind of movie that provokes the audience. Throughout all kinds of aphasia, the characters floated.
Christian Bale, Cate Blanchett, Natalie Portman... the few actors who read "the drama is full" on their faces were treated as dancers interacting with the camera by Malik. Without accompaniment, dancing out of thin air, completely ignoring the laws of film creation. But in my opinion, "Knights of the Holy Grail" simply doesn't want to care about the audience. Malik continued to shoot his magic stick movie, jumping between the great universe and nature and the tiny soul trivial, cutting off all the beautiful branches and leaves, and cutting down only a tree trunk, waiting for the next few years, and then Grow. Perhaps you can look at these three works like this: "The Tree of Life" from a family video, "To Wonderland" from a wedding photography tutorial, and "The Knight of the Holy Grail" from the Alone Life of the Lost Prince. If you have experienced the trilogy of photography, then, the soul-catching experience brought by the wide-angle lens, the small sun plus the sacred light, the lack of emotion, the narration that focuses on introspection, and then the narration... These author’s techniques seem to have become Malik photography. The inertia of the movie.
A major feature of "The Knights of the Holy Grail" is that the interaction between people and the environment is more obvious. From the sky into the groundwater, every short story repeats the development process from the swimming pool to the beach. In addition, what you see with your eyes will probably only be meaningless, unreasonable fragments of daily life. Celebrities, strippers. Homeless people, unknown passers-by. Endless parties, ignorant of the so-called disputes and conflicts, the love of men and women that end in a disease. Malik is like an anxious double-faced god who denounces this wicked life and embraces it all the time-even if it ruins everything. Whether it is Sean Penn who is lost in the modern city, or Ben Affleck who is puzzled by love, or even Bell who wanders in the wilderness alone, ghosts in the city, sleepwalking in Hollywood. Most of these characters carry Malik's life rewriting. In particular, "To Wonderland", which also has no story at all, fully explains why Malik has not made a movie for nearly two decades. In "The Tree of Life", many people exclaimed that this is Malik's closest movie to his heart. Unexpectedly, "To the Wonderland" confuses everyone, this is simply a way of thinking. Finally, "The Knights of the Holy Grail" finally took everyone's attention, what kind of wine was burning here. Fortunately, Malik finally decided to make a real fetish movie: the documentary "Time Journey". If you are lucky, you can see it within the year. "Knights of the Holy Grail" has an unnoticed beginning of the story. An earthquake announces the existence of life time on the earth, and a human life, facing the intrusion of an earthquake, is like an unknown existence. Movies continue to chop up human time. The two are parallel in appearance, but are subordinate in essence. Compared with the time I can't grasp, it seems that I can understand the chattering, fragmentation, division, and anxiety in the film. There is always a stronger force, a pair of holier hands, controlling every life.
At the same time, there are particularly bizarre details in the movie, such as planes flying in the sky from time to time. This is unlikely to be a coincidence, but Malik will never tell the audience: He is really engaged in an airplane. Whether it’s the love of the land that began forty years ago, the water that continues to appear in "Thin Red Line", and the evolution of the universe in the trilogy of the god stick. Malik is indeed deeply trapped in his philosophy of life. He does not rely on those frightening professional vocabulary, but only uses cinematic lenses—especially sophisticated photography techniques to explain this cinematic philosophy. This kind of gameplay is indeed a little crazy. These films are all, wanting to stay away from the commotion of the world, to find the love and freedom of human nature. Therefore, you often feel that the protagonist in the car is no different from the bed. In the arms of the lover, it is like being in the embrace of nature. This must not be a film critic's overly rich imagination, but the spiritual concept that Malik wants to convey with the help of the film. As for the audience's incompetence in accepting, and even mocking the director for pretending to be a fork, it is not difficult to understand.
Compared with the religious background that Malik loves, in such an era of consumer entertainment, with the help of the pipe organ in the movie, the style of prayer and even the crushing of the MV, it is undoubtedly too easy to fail to achieve the brainwashing function. To be honest, I don't really understand this movie too much, but I don't dislike its existence either. It's still the old saying, it's so simple and cute. [Published in "China News Weekly"]
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