In my opinion, the "exorcism" behavior of priests and nuns is a completely logical and reasonable existence in their cognitive system. Their rhetoric in the face of the police is also sincere and absolutely not sophistry. This is rooted in their treatment of themselves. The complete recognition of faith is beyond the imagination and understanding of "outsiders" who have not entered it. As non-religious and spiritual “outsiders”, their values must be based on the “world”, and their way of thinking is based on the “world”, so the police are talking about the truth of the world as they see it. Using "this principle" to persuade and judge them is incomprehensible and indistinguishable anyway, and the priests and nuns are talking about the reasons behind that they cannot see with their eyes. This is the root of the contradiction between the two parties. This conflict has existed since the day the religion was established and has continued to this day, so in the end the director only gave some emotions and a non-directive ending. The ending is like this: they are on the road ahead (a metaphor for the process of handling this matter), parking (not smooth), waiting for the prosecutor to go out to handle the case (the decision maker is required to enter, but he is not present), this time They encountered road construction, talked about ground cracking (these are obstacles in the course of travel caused by objective reality), and the front windshield was splashed by sewage at the same time and blocked their sight (the road ahead is not Clear), and then the movie comes to an abrupt end in the only one-time, stained cleaning of the wiper (trying to see the direction, but its inadequacy will not make the result completely clear).
In fact, I am looking forward to the director’s definite and affirmative answer, which may prove as I imagined: Since the world involved in religion is more beautiful and vast, and our bodies are in the same life, can there be a kind of To embrace "this world" in a more profound and generous way, extend the "afterlife" to the "present world", and penetrate all the space in a more rounded and transparent way. In this way, the hurt Alina may be really rescued.
Director Kristian Mongi, born in Iasi, a city in northeastern Romania, in 1968, won the 60th Cannes Film Festival Palme d’Or with “April Three Weeks and Two Days” in 2007. The film “Beyond the Mountain” Won the Best Screenplay and Best Actress Award at the 65th Cannes Film Festival this year.
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