The 10th #法罗岛电影节# The 9th screening day of the main competition unit will bring you "Germany Year Zero". Here is the evaluation of the wounded children of the frontline deformity!
We Min Hee:
After satisfying the childlike innocence that was suppressed by being forced to grow up, he headed for destruction on his own.
Owner of Faroe Island:
All the destruction of war is not only casualties and losses, but the pain and suffering in the heart is the deadliest. Such emotions are not only in the defeated country, but the victorious country will also leave a post-war syndrome.
Pincent:
The young Muschett or the young German, wandering through the ruins of life, self-reflection or shooting at the ruins is the greatest futility, and his thoughts continue to grow like poison all the time.
Ye Fan:
This is a creepy film. The deformed era, the deformed country, the deformed family, the deformed society, the deformed interpersonal relationship, and the deformed psychology of the people, seem to be the worst of the times.
Pour wine:
Several neo-realisms look exhausted, but this one is the lightest one. Firstly, it takes a short time. Secondly, the photography is great, and there are many meaningful shots. I can see Rossellini's dedication in this film. In such a world, morality is really worth considering for life and death.
Bob Chow:
The image is moving, concise, and powerful. The focus of children is the best standard-bearer for recovery after the war, but there are still bloody accusations and grief in the second half. The sadness of the times does not need to be said. Life, death, and death are distorted and magnified under the power of doctrine and implanted in a generation. The contrast between the individual image and the group image.
kc512:
The head of the family has become a sick man, the daughter has become a prostitute, the soldier has become a deserter, and the teacher has become a rogue who instigates crime. How do you think the child will have a future? The first two thirds are still the suffering before the brilliance of the classic Italian neo-realism, but since the piety is like Rossellini, there is no salvation. There is no god in the church.
No one at midnight:
"I'm tired of eating that"-"Then you just go to death." From the first line of the whole film, the tone of despair and coldness was laid. In many places, it is faintly visible in the later "Four Hundred Strikes" and "Muchette" Waiting for the shadow of the work, the ups and downs are as short and sharp as sharpening a pen with a knife, quickly completing the process of a child being abandoned by the world. Patriarch is no longer the cliché Oedipus complex here, it has become a release action when the soul is helpless, it permeates a breeding disease under the cover of superstition, and it grows into a piece of ruins. A new breakthrough.
#FIFF10#DAY9's main competition scores will be released for everyone later, please wait and see.
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