A Film Adrift in the Cosmos

The first time I watched it under the extremely sad subtitles of the film festival, I could only reluctantly grasp some of this move, and concentrate on perceiving from the image. The feeling at the time was very interesting, and the traffic jam was empty. As the protagonist advances, the caravan next to him will not only repeat randomly, but also have all kinds of strange shapes: chess players, lions, grass mud horses, blocked in the opposite direction, and so on. In addition, interviews between blacks and Algerians are also very interesting; when they stopped the car, they asked whether they were in the movie or in reality, and the answer was in the movie; repeated actors; brother singing at the telephone booth; Alice’s question; Mozart Sonata with 360 The degree surrounds the long shot...

CYQ said that this is the radical Godard’s method of letting film art go to capitalism. After reading some film reviews, they said that they are the authoritative method of omniscient in film narration. Although the interesting point is not entirely the technique, but the scattered absurd content.

In the second pass, you can finally watch the movie without any deviation in the full English subtitles timeline-although some titles are not translated, most of the problems are solved by Wikipedia. This time it is more focused on the understanding of the content-through the language. From the beginning of the film, there has been a flood of "guilt", and later on, it is vaguely felt that a certain repetitive and messy piece of gloomy music is often accompanied by adultery, theft, rape, and murder. In the face of a lot of absurdity, evil, and disputes in the film, the headline at the beginning of the film: "A Film Adrift in the Cosmos" and "A Film Found in a Dump" repeatedly appeared in front of our eyes. A large number of humanity experiments, historical mapping (unfamiliar with French history), and symbols (hippos?) were overwhelmed and concentrated in just 104 minutes. Perhaps such a movie should be taken when launching the satellite to show the human population. The real face-humanity in the garbage dump.

I don’t actually feel a particularly serious tendency in terms of ideology. It is naturally fierce, materializing, calculating, and betraying capitalism, but for the front line of the revolution (with a big cross on the title) it is also eating human flesh, exchanging prisoners of war, and killing. The civilians are there. The proletariat and the bourgeoisie in the "Communist International" section are embracing the proletariat and the bourgeoisie because of the indifference of the male and female protagonists. The absurdity can not help but think of anti-Japanese means, but I feel a strong ridicule of the Communist International-or that this communist is not the other communist. ?

In general, the film that uses absurdity, irrationality, and sarcasm to attack so many phenomena, systems, and human nature is really refreshing. Although the whole film is divided into sections, it is independently interesting to watch, but it follows the track. It is obviously more thought-provoking if you follow the simple plot development of the hero and the hero, and it is really interesting!

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