The title "Revolutionary Past" is more appropriate. When shooting people, I used a lot of close-up close-ups. The revolutionary ideals of comradeship with the members of the militia squad carved on their faces, flashing in the eyes and hidden between the eyebrows, were full and poetic. The director's guidance for the performance of this group of actors is very strong, so Many non-professional actors and villagers who show their faces without speaking are very real. The granddaughter reads the newspaper clipping photos and letters kept by his deceased grandfather to recall the revolutionary past. The reading of the letters is substituted in the first person, and the lens of the revolutionary struggle has a strong sense of third-person observation and recording. This narrative method and perspective arrangement There is an epic sense of the vicissitudes of life that makes people "the past is long, and this feeling can be turned into a remembrance". The director has strong scheduling skills, and the group portraits of several scenes such as meetings in the village are very exciting. From the beginning without weapons, to the captured Franco officer claiming to be a soldier, to the village occupation and meeting, little by little, the differences in the line were gradually revealed, the division of the revolutionary team, the internal fighting of the revolutionary team, and the Franco fascism that had been confronted together was hardly revealed. Passing over, it seemed to be sitting on the sidelines and mocking. The whole audio-visual language is very accurate, and it's very high-level, hidden behind the theme and emotion. The songs of comrades-in-arms who wandered in the trenches of gays in the 1930s and the Internationale full of ideals seem to be echoing in our ears today, which is heartbreaking. I love Ken Rock like this so much.
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