Respect movies, and don't let the flood of public opinion break down the walls of art.

Oma 2022-03-27 09:01:18

The atmosphere of the opening scene is very intimidating, the somber and solemn tone, the neat and precise composition, the smooth movement of the camera and the scheduling, the whole film maintains sophisticated audio-visual language skills, and still stabilizes the suspense under the premise of knowing the result early. Standard work. This event that shook French society (even Proust used it as a sign of the times in Remembrance) is almost a slice of current events in Europe, reproducing the long history of anti-Semitism in Europe (a few in the opening paragraphs). The officers talked about the eradication of the Jews as the eradication of the plague, and there is a historical fact that the origin of the plague was blamed on the Jews). Although Dreyfus is at the center of the storm, Dreyfus is on the edge of the narrative, so the viewer can look at the big picture from a more objective distance without deliberately substituting a role. "Aurora" shows the courage to face the truth with a series of "I accuse" comparisons. More than a hundred years ago, individuals, news media and literary creators who put their safety at risk have clearly maintained an independent attitude and a clear head, followed the How precious is the conscience of truth and justice, perhaps even more meaningful in comparison with today's reality.

Aryanna 2022-04-21 09:03:07

The classical style comes from pre-modern non-subjectivity. In the first half of "I Complain", in the film about the Dreyfus incident, Dreyfus is just an object that appears in a telescope to be observed. In this way, "I Indict" isolates emotion and avoids the temptation of individual-institutional political narratives. It is difficult to determine whether Polanski was referring to public allegations of his social events, and if there were, it was an elegant and razor-sharp pushback. Therefore, "I Complain" does not lack strength and power, and it is not completely classical. The first half of the film and the second half are in a mirror-image relationship. Picard, who is the "detective" image, exits the stage, and Dreyfus himself appears, and gradually finds his own identity. The subjectivity of the modern subject.