The uniqueness of this film is that all eyes are focused on the inside of a tank, and the hard soldering iron separates the four male protagonists from the surrounding war. The seemingly independent claustrophobic space provides a broader stage for this kind of human struggle. Unlike the fate of soldiers on the ground, it is always the moment when you die or I die. There is almost no room for error. The urgency in the tank is gradual, providing sufficient space to taste every cruel choice and pain, just like A climax of aria, constant percussion and torture. A group of youthful youths, with no combat experience and sophistication, gambled their lives on the battlefield. Something reminds me of a lot of what was described in The Wind That Shakes the Barley (The Wind That Shakes the Barley) a few years ago. Circumstances, such as the fierce quarrel before the execution of Chris: "I'm sorry, but this is war. What are we doing here? This is war!" After personally killing his friend, the actor Damien said: "I I have already stepped on the line, and I don’t feel it anymore." However, as a cruel indoor psychodrama, the portrayal of the transformation of human nature and emotions in this film is still a bit sloppy in comparison, and it is not as shocking as the latter.
However, in the context of the prevalence of "pseudo-documentary style" in war-themed films in recent years, the appearance of "Lebanon" can be regarded as a pleasant surprise. The trend is cutting-edge, or if you want to see the movie can still be shot like this, then "Lebanon" is undoubtedly an excellent model." Maoz used a unique art form to reshape this painful memory of herself. Excellent editing and photography, as well as a large number of symbols and metaphors, are the greatest charm of the film. The handling of many scenes is impressive, such as the scene where a tank is attacked by a Syrian, and the picture is extremely impactful. The indoor space of the film is set up as a small, chaotic and dirty scene, which is suffocating and disturbing. As the plot progressed, the mirror-clear water surface gradually became filthy, the instruments and appliances on the driving console were gradually eroded by oil, and the original clean face became full of mud, making it almost impossible to distinguish. All this not only foreshadows the fierce struggle within the characters, but also tells the filthy and hardships of the war itself.
Of course, the most special part of the film is the outdoor scene peeking through the scope, using such a unique subjective perspective to outline the cruel battlefield. This perspective is not only for the gunner Shmulik, but also for the director Maoz, but also for the audience. Prepared by myself. What the scope shows is full of magnified close-ups of the war. Humanity and cold-blooded are often the difference between one's thoughts, which makes people confused. One of the most memorable scenes is a helpless woman. The shame of being naked and the loss of human dignity in the cannon fire constitute a quite shocking picture. The lens also deliberately sweeps the propaganda paintings of travel agencies, the Eiffel Tower in Paris, Big Ben in London, and skyscrapers in New York. These happy and peaceful worlds are at this moment, yet far away. What is striking is that Maoz often allows the characters to look at the aiming camera, as well as the audience. Whether it is armed soldiers or unarmed poor people, they seem to have a thousand words, complaints, confusion, and others. resignedly. However, the distressed woman probably won't see that in this frightening behemoth, there are actually only four innocent, fragile, helpless children.
Unfortunately, the shelter provided by tanks is far from indestructible. This seemingly independent barrier is constantly suffering from the devastating impact of the outside world, and as a result, it remains isolated and helpless in the surrounding crisis. Two lines of text are engraved on the inner wall of the tank: "A tank is just a soldering iron, and the body of a soldier is comparable to steel." However, in this film, both the soldering iron and the steel appear to be equally fragile. Lost and knowing what to do when lost. Until the will to survive step by step against their psychological defenses, finally, at the moment when life is hanging by a thread, it evolves into a climax of killing.
After all the fear, struggle, collapse, madness and death, the film has just ushered in the sun of dawn. Until then, the audience was able to escape from the torture of this claustrophobic space. However, the field under the blue sky is still a gloomy and gloomy scene. The sunflowers all over the ground are bowing their heads tightly, which also reminds people of the intention of the opening. The picture of "the wind is about to rise" seems to have heralded the whole scene. The rhythm of the movie. The sight of the movie only stays for more than twenty or thirty hours during the mission. For the following story, perhaps we can find answers in different stages from "The Hurt Locker" and "Waltz with Bashir". From naive entanglement to addictive numbness, it eventually becomes pain and trauma that is difficult to smooth out. It is also the source of this memory and the courage that the director wants to tell.
"Lebanon" is the first film I watched at the Venice Film Festival last year. After watching this film, I have another impression that has nothing to do with the film itself. I once again praised the film at the Cannes Film Festival last year. I have watched it. Several of them have an unforgettable feeling. In contrast, the Golden Lion Award work selected by the jury led by Ang Lee, although the technique is very innovative, is already very commendable as a debut work, but it does not give me enough similar feelings.
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