The clip of killing the girl, I started playing it back before I could watch the full movie, and played it many times. Then, when I thought I was accustomed to the screen, I imagined that the girl was beaten into the body by a sieve gun (used to kill pigs), suffering helplessness and fear, and the huge insensitive impact and tearing of the heavy sieve needle into the body. Feeling the painful scream, Benny showed her parents the video of killing the girl just like when she first showed the girl the video of the pig slaughter. Keep calm and condensed tension. And finally, he played the half-covered door that he had recorded in the dark bedroom to the police again. The white light and the faintly discernible conversation of the parents about the dismemberment of the girl’s corpse came out of the door. This was Hanek. A smart trick, how many people are aware of this kind of identity replacement? Victims of violence: pig → girl → parental violence. Viewer: girl → parents → police. A strong contrast changes the perspective of the role. The auditory torture of the audience is relieved with the termination of the pig/girl scream, which basically implies that the parents will not end up better than the girl in the end. Where to go. Haneke is such a smart and perfect spiritual manipulator-he used the hands of the inexperienced 14-year-old Benny to reverse the video of the massacre, replay it in slow motion, sifting the gun into the head again, lengthening the sound, and changing the picture. It freezes for a short time, and then the pig killing video comes to an abrupt end. The television presents double visual and auditory white noise. The audience has not yet caught their breath. The moral doubts and lack of pictures in an instant, the end of the video begins to snow, just like In Haneke's "Seventh Continent", the TV is on but there is no signal, and the picture shows a snow and white noise, which is more chilling than the snowflakes in Benny's video; the end of the girl's death video is immediately followed by the fancy TV. The entertainment shows are absurd but real, and the audience experienced another shock that instantly switched from dying screams to laughter and music. I want to applaud Hanek, genius. Don't talk about human indifference, let alone loss of trust and communication. I agree with the cold violence mentioned in post-industrial society, but he didn't elaborate on it. I never talk about politics, criticizing the media's unconscious infiltration of people, making people accustomed to violent behavior, and so on. It is not a new topic. Even if there are frequent political and social news in the film, even if the end of the film is still in the end and the end of the film, social violent attacks have caused many deaths and injuries. The news - but in fact, the real violence is the sound of a well-trained, cold-toned news broadcast in the face of all brutal massacres. But here, I only look at a pair of children's curious and innocent eyes, pure perspective, emotional detachment, absent parents, cold technology, autonomous exploration in a puzzled mentality, and behavioral conditioning driven by instinct. Most importantly, please put aside all right and wrong and moral definitions under the social framework. He is just a boy who sits casually on the sofa and chats with his classmates on the phone. His tone is flat and calm. At this moment, there is a fresh bloody corpse of the girl lying in the room. He is unhurried, naked, taking pictures of the blood on his body, taking pictures of the corpse, turning it over, zooming in and zooming out, like the novelty of a baby's first sight of new things, and the excessive rationality of scientific research in a documentary. / A cold attitude to capture materialized details. Mother was in the toilet, half-open in her bathrobe, seeing her breasts, Benny patted her through the mirror, and Haneke patted them both through the mirror. You see? Benny has no right or wrong judgment, no shame to infringe on others' excretion, and ignorance of what is called untimely. Benny used the lens to follow up all his subjects almost coldly and ruthlessly. His perspective is that of cold technology, penetrating the camera lens and refracting the image without any emotional feedback. He couldn't make an emotional connection with everything in the world. Parents, friends, and even himself-wrapped in an auditory impact space full of noisy TV noises and heavy rock and roll at the same time, he still sat quietly and peacefully at the table writing. He poured milk and spilled it on the table. The camera zoomed in, the same close-up as when the blood was wiped out. Haneke is reminding you: remember, he wiped off the blood stains like this, there are still blood bubbles in the lines, just like the milk foam left on the table: erasing blood stains is as common as erasing milk on the table. . Ohh Benny. He has not yet formed a consciousness of life and flesh, and is still a clean, soft and malleable statue. You can't blame the distortion, deformity, or disability of a statue's rough embryo, because no one has grouted it into shape yet. The warm colors of Egypt undoubtedly form a strong contrast with their homes filled with electronic technology and metal furniture in the Vienna city. But at this time, another technological intervention: the mother and son face the absurd entertainment medium of sound and picture in the hotel’s icy television set with expressionless faces. The mother’s mind drifts, her savings explode, and she bursts into tears, an extremely neurotic comparison; Jiribach’s pipe organ song BWV731 sounded. I couldn’t even tell whether it was Hanek’s religious benevolence to us, or another grim contrast. Benny walked into the dark terrace at night and looked at the harbor in the distance. As an art merchant, his mother has a messy style of painting on the walls, a typical middle-class aesthetic and home decoration attitude. What surprised me but also expected is that I saw "La Reproduction interdite" by René Magritte, a Belgian surrealist painter in 1936. This painting was originally used to express, and art should no longer be a mirror that mirrors reality. This painting is used in "Who Am I: There Is No Absolutely Safe System", "Tears Scars/Scary Birds" and "Secret Window". The themes used to reflect roughly cover the three different "I", "Who am I", "Who do I appear to the outside world", and "Who is my inner self-recognition". In these three movies Here, it can refer to different selves in the network, multiple IPs in the dark web, or it can refer to split personality, inner self-contradiction, and eternal conflict between the real inner and the external appearance. In the film, Hanek penetrated through glass and mirrors countless times, and used Benny's video footage to shoot the grim technique, but "I" was even missing. "La Reproduction interdite" in 1936. This painting was originally used to express, and art should no longer be a mirror that mirrors reality. This painting is used in "Who Am I: There Is No Absolutely Safe System", "Tears Scars/Scary Birds" and "Secret Window". The themes used to reflect roughly cover the three different "I", "Who am I", "Who do I appear to the outside world", and "Who is my inner self-recognition". In these three movies Here, it can refer to different selves in the network, multiple IPs in the dark web, or it can refer to split personality, inner self-contradiction, and eternal conflict between the real inner and the external appearance. In the film, Hanek penetrated through glass and mirrors countless times, and used Benny's video footage to shoot the grim technique, but "I" was even missing. "La Reproduction interdite" in 1936. This painting was originally used to express, and art should no longer be a mirror that mirrors reality. This painting is used in "Who Am I: There Is No Absolutely Safe System", "Tears Scars/Scary Birds" and "Secret Window". The themes used to reflect roughly cover the three different "I", "Who am I", "Who do I appear to the outside world", and "Who is my inner self-recognition". In these three movies Here, it can refer to different selves in the network and multiple IPs in the dark web, or it can refer to split personality, inner self-contradiction, and eternal conflict between the real inner and the external appearance. In the film, Hanek penetrated through glass and mirrors countless times, and used Benny's video footage to shoot the grim technique, but "I" is even missing.
Like some of the specific images Haneke used to use in "71 Fragments," "The Seventh Continent," and "Fun Games," those characters who single-handedly caused the consequences of "unconscious tragedy" always have a fatal attraction. Obscure personality, lack of motivation, keen senses, dazed, innocent, beautiful, charming, marginal and free, deep fanaticism driven by desire and curiosity, excessive naivety leads to extreme violence under a calm appearance, victim of social moral framework, pure and ultimate aesthetics Devout believer. The 16-year-old Claude in Ou Jong’s "Into the House", Rommel and Fassbender, the gentle and helpless Fritz in "The Tenderness of the Wolf", and the fragile and innocent Grenoyer in "Perfume", " The beautiful and cute but always expressionless little girl Anna in "Raising the Crow", Thomas, who is pale and beautiful with almost a cold and subtle marble body in "Erotic Hotel", is the character who always hides in the forest in "Woodshock". Resa.
These roles that have made me want to stop for a lifetime, my identity panic. * I just can't tell how much I love this movie.
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