The Rossellini film, which Bazin calls a model of realism, is actually very dramatic in the soundtrack, plot and even editing, which also implies the possibility of compatibility between drama and reality. 1. Recalling the film "Raising Crows", the same poison killing and father-killing, Carlos deliberately used coincidence plots and a narrative structure of time and space to avoid ethical dilemmas, while Rossellini reproduced almost without omission. This action is not only to break the cruel cycle of poor life, but also to the core of the trauma that leads to hell. The direct display of the core of the trauma, the unavoidable ethical torture, is precisely this kind of unsentimental objective appearance that truly opens up to the truth and reality of the unknown. 2. The editing rhythm of the film is very fast, and the movement makes the camera have a strong sense of existence. The dramatic soundtrack emphasizes the existence of cinematic (rather than documentary). Perhaps it is the origin of Italian neorealism from wartime news photography. But it peculiarly inherits the liveness and authenticity of photojournalism, which is the result of many factors, such as the environment, the details of the props, the texture of the images, the details of the characters, the non-biographical nature of the actors, and so on.
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