Michael Hanek_The Age of Wolves_2003
6.9
Generally speaking, paid Internet movies put their biggest gimmicks in the first ten minutes of the trial to attract the audience, and the 2003 work directed by Michael Haneke appears to be advanced in this respect. When a family of four returned to the countryside, their husband was suddenly killed by a homeless man who robbed their house. What happened in the first ten minutes of this film was the biggest climax of the film, and it was also one of the most exciting firsts I have ever watched.
Then Anna took the two children wandering in the extreme environment with scarce resources, and the background of time and place was completely taken away. After being repeatedly refused help, they went to an abandoned barn for the night. The youngest son was missing. Although he was later found by the mother and daughter, the barn caught fire during the period. They met a wandering teenager, and the next day, the four of them went to a train station full of other wanderers.
Together with the other wanderers, the family began their long wait, waiting for the train to pass and leave. It never got better, but the ending gave the scene of a train symbolizing salvation. The plot has been subtracted to a great extent, and the anti-dramaization is especially reflected in the key plot being hidden. The major reason for the completion of the arc of the younger son’s role in this film "what happened on the first night" is not in the later plot development. Any explanation.
The film is very close to the social state during the epidemic at the moment, and the sound and picture scribbled the end-time sense of sight of everyone in danger. But when I say "social state during the epidemic" here, I don't mean that the scenery is desolate and abandoned, but that everything is boring and boring. Roaming movies usually please me, but this movie is drowsy overall. In my personal view, this effect probably needs to be attributed to its overly emotional and lack of information, and minimalist stories may not be suitable for real social criticism.
The whole story serves the author’s concise intention to present the tip of the iceberg of the ritual collapse of the society, the failure of communication and the rampant violence are all over the film, nothing more. The photography is very good, the motif is the lack of light, there is no sunny day, and the light source of the night scene is extremely simple, which makes me blind, but it is full of attraction. Fog and rain are the two basic types of weather in daylight hours. In addition, there are shades of thorns and branches, which cover the rich background scenery with imagery. What is noticeable is that in the funeral scene, the viewfinder only shows people's lower body, ensuring the coldness in the image.
The sense of distance is also reflected in the scene scheduling, and the character communication is also kept at a distance. Many scenes use mid-to-long distance to highlight the environment rather than the characters. Fixed camera positions, long shots, and depth of the picture. These designs eliminate the frequent and intense scenes in the film. Inciting emotions. The forced death of the animals is impressive, while the children’s solution to the dangerous situation is surreal. The daughter wrote to the late father, and the son chose to take off all his clothes and go to the flames to die. The human nature presented by the characters is not complicated, but rather simple and rude.
After the story progressed into the train station, the ineffective communication and rampant violence, which were presented in the first ten minutes of the film, were repeated endlessly. The mother, daughter, and son each tried to find a solution to this dilemma, but these attempts did not enrich their mental state. On the contrary, all the characters are gradually paralyzed with the repeated scenes, and their personalities are becoming more and more single. The characters outside the family have one side, good and evil are extremely dualistic, and they are all expected, and there is no attraction.
The famous line of director Michael Haneke: "In the movie world, the audience is always the victim of the director." In the process of watching the movie, I was successfully turned into a victim. This overhead worldview has not been built completely. The tip of the world’s iceberg is presented with a single, exhausting emotion that is repeatedly and repetitively working. The texture of the image is cold, but the narrative continues to instigate the plot of suffering.
The most regrettable thing is that while the "result" continues to torture the audience, the "reason" has never appeared, and the overhead background makes it difficult for the audience to figure out the relevant reasons for themselves. As a result, all subsequent negative references to this phenomenon are extremely weak and pale. In terms of the author's expression, Haneke's criticism of human nature is also ambiguous, not specific or accurate.
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