if I needed any words to describe the whole movie, it might still be "beautiful".
Although one of the main functions of the film or the presentation of multiple aesthetics, it is indeed somewhat different: it is not the pure color contrast of expressionism, nor is it the slightly dull silence of realism, but more like hyperrealism. Some kind of coldness brought out by it.
The tone of the whole work is difficult to express with too much publicity: a Nordic style, frozen by ice and snow into a sexually indifferent beauty-this is not just symbolized by the occasional "sexual indifferent style" in the movie A kind of minimalism with a surreal meaning, a calm but shocking beauty in my concept.
The whole work is described by me as "sexual indifference", but this does not mean that I don't care about the description of "sex" love, or that it is more resistant and exclusive to "sex". In fact, in the work, whether it is the heroine's Electra complex with the protagonist, or the actor's patriarchal perspective, showing some control over love, this itself is also a profound manifestation of sex. The content of sex in the film is not too small, but more often it uses the noisy wind, the quiet night, and the sluggish whistle, which constitutes a sad but indifferent atmosphere that looks like to see through the future.
Sex itself is no longer the content of the story, but is presented in a cold posture as part of the film's aesthetics. This more or less reflects the content of pure love with clan and fatal meaning: "There is only one ring, even incomplete." An accidental encounter will inevitably lead to a reunion of destiny, from expectation to Longing for, but hating parting, and even long lovesickness, after all, it will be a tenderness, and it will be to escape the world from the world. They are only unique to each other, and only use love to accompany the eternal loneliness living in seclusion in a land where the sun never sets.
The beauty and success of the whole work does not take into account the director's personal creative integration ability measurement. Photographers, art directors and soundtracks should take more than 30% of the credit. The hand-held sports lens often presented in photography makes the overall picture cool and swaying in an extremely cold world. The wildness of love and sex, the crazy obsession of human nature, is deep in the subconscious. In a tearing explosion, but submerged in the coldness of the world, even the cold but emotionally enthusiastic artistic style is more prominent, and every time the wind instrument presents the Nordic cold, deep, and Western style. The remoteness and boundlessness of the work make the style of the work and the emotional experience it gives to the viewers reach the extreme.
If you ignore the time element, i.e. the so-called "plagiarism", "borrowing" and imitating, this work should be very similar to the other two romance films I have seen, or works with a sense of love: "Two Little No Guess" and "The Man without a Surname".
The common feature of these three works is nothing more than the childhood love of childhood. This love itself has a sufficient degree of anti-moral and ethical content: incest, cheating, etc. At the same time, in addition to the dramatic meaning of the above-mentioned moral values, it is bound to be endowed with surreal content to achieve dramatic enhancement: from memory Reversal of time and space, to the almost imaginary concrete burial of living people-and in this work, from a certain romantic and idealistic fateful encounter and a paper airplane love letter, there is also an Electra complex with the sadness of the dead father. Come to get closer emotionally, but after the "brother and sister" "incest" and then the pain of bereavement constitutes the alienation of personality, and even the miss on the square, but experiencing ups and downs, and finally in the arctic circle in the extreme day of absurdity but sadness The plain form is the end of love.
Perhaps the difference is that although both are European films, this one presents more of the loose state of traditional art films, and the viewing experience will naturally tend to be in a more dreamy form.
The whole story is not a model constructed by the dramatic conflict of Hollywood-style works, but more like a work that focuses on showing loneliness, love, drifting, and vastness. This is naturally a typical self-expression movie, and it is no wonder that after substituting emotions, you can finally taste some of the ultimate beauty.
But it must be lacking in the story and plot.
What is quite annoying is that although the whole work is somewhat later modernism mixed with the deconstruction of interpersonal relationships, emotions and life situations, and even presented by various coincidences encountered by the characters, the film is based on the extreme Yongri's special climatic characteristics are the foundation, showing too many romantic colors that seem to be out of the world, and these are more of the performance of a certain surreal method.
The combination of these two methods achieves the interpretation of the story. It is not like the multi-threaded, multi-paragraph, dream-like extremely complex narrative content and system of "The Man without a Surname". Realistic traditional romance films with less complicated stories. In order to achieve certain emotional expressions in the film, some coincidences in the story are used to construct enough drama to complete the interpretation of the bridge-but the coincidence is too deliberate, and even makes us not sigh at the roughness of love and the characters. The impermanence of life's circumstances, on the contrary, I only feel that the director's invisible hand is too wide-ranging.
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