The title of the film: Beyond the mountain, represents a boundary. On both sides of the boundary are two completely different places. One is the life scene in the monastery in the historical era, and the other is the traces of modern life. Places of secular life. Beyond the mountain, it is secular life for one of the heroines and the clergy in the monastery, and for the second woman, it is the life of the lonely and hypocritical Catholic Church.
The main scene of the film takes place in a monastery where there is hardly any historical era, without electricity, modern living facilities, and hot showers. Whenever the characters come into contact with the outside world, the scenes of secular life can often cause great contrast. When the audience is immersed in the monastic life of low light, black clothing, dark wood, and faintly shining sacred objects for a long time. , Once the lens turns to external life, such as a symbol of modern society-a fully illuminated convenience store, it will produce a dramatic contrast effect. These outside life scenes include the orphanage where the protagonist grew up, the foster family of the second heroine, and the car wash where the second brother of the heroine works. But the most symbolic thing is the social service public places including hospitals, and government departments that govern entry and exit. As well as the inside of the carriages of law enforcement officers, they constantly remind the audience of what era the film is in, and secretly depict the external secular life surrounding the monastery. The film uses some casual pens when depicting the people of these state power organs. In addition to reflecting the indifference of the system, the mother-killing incident that the law enforcement officers talked about at the end of the film is also a heavy stroke. Every stroke is trying to piece together the external environment. Full picture.
There is no doubt that this is a gloomy and hopeless society for people from the bottom, young people with no skills have nowhere to go, and poor monasteries and orphanages are hard to find. The second heroine in the film is very similar to the protagonist of Varda's "The End of the World". In addition to being humble, the same character is violent and uncooperative, which makes it difficult to integrate into modern society, and the same bravely and abnormally ignores everything for a pure purpose (one for freedom and one for feelings) and the endings of the characters are also the same (think carefully, this way There is indeed no other logical ending to the character setting of the heroine II. In the Romanian society shown in the movie, it is a burden that no one needs. When the body and mind were tortured at the same time, the hospital and foster family were kicked around like a ball. In the end, being taken in by the church was not because the religion took the initiative to assume the responsibility, but the fetters between the second heroine and the first heroine, and the only connection between the second heroine and the society, which made the monastery helplessly accept this burden. Of course, Varda's focus is not to show the social environment, but this is one of the key points that Mengji wants to express.
The slow and plain narrative finally turned into a dramatic conflict in the exorcism section. The whimper and the surging of the black robe surrounded the "demonized" body like a tide. In the process of exorcism, the belief of the female first began to slowly shake, until finally she took off the black robe and put on the sweater of the female lead. The ending is, of course, shocking, I am willing to understand the young life (which is constantly called by the director through the mouth of the post-mortem doctor) as a victim of society. Of course, it is not just this age. In the age of ignorance, countless lives have been sacrificed in the name of religion. However, in a modern society with a so-called sound judicial and medical system, such sacrifices can't help but be staggering. Can the female protagonist who took off her black robe still lead a religious life similar to the previous godly faith? Do you regret not agreeing to the second female lead's request to go to Germany to work together? The video is left blank here.
In the process of watching the movie, I didn't pay attention to the delicate emotional pull between the two heroines. After watching the director's interview, I found that I did not pay attention to the part. Maybe it still fails to understand this feeling as love, but as friendship and family affection. In the film, neither outside nor inside the mountain can save the heroine II. Of course, we cannot completely shirk the responsibility of death to an exorcism ceremony. The heroine's beast-like character reminds me of the "wolf boy" who grew up in a wolf pack and was unable to get along with other people. The heroine, who is hard to protect on her own, obviously cannot protect and save her. Jimon showed such a rich sociological context, enough to arouse thoughts and associations with multiple meanings.
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