A chapter-like structure with a sense of design, echoing the beginning and the end. The mints scattered throughout the chapters, the train's intentions (and perhaps more) always remind the audience of the author's presence, and of the male protagonist's very recognizable and almost clichéd projection on the woman at different times. a mirror image of the self (innocence, kindness, desire, self-closure, self-loathing...)
But what is very interesting is that it is difficult for a male protagonist with such rich experience to make people empathize. In the first half, you will feel that it is because of your lack of life experience, or it belongs to the empathy between men, but watch the whole film. , found not only that. The character setting of the male protagonist is very deliberately placed at several important historical nodes (from violent organizations to capital forces), and the identity transitions in different periods are very representative. This in itself does not constitute a reason for empathy, but The character of the male protagonist too easily matches the character transformation of various identities in different periods, and too easily shows the author's passive view of the individual in the structure, as well as the author's perception of history, leading to the fact that the character of the male protagonist itself Under such a rich identity and character change, it seems a little thin. So much so that after watching the entire film, I feel that it is difficult to outline what kind of person the male protagonist is and what he really cares about. Even the first love, the kind heart of the white moonlight that runs through the whole film, still feels a bit standardized and thin. Therefore, the male protagonist's expression seems to be only a roar, a roar without content, which represents the roar of people who have experienced various experiences in history. He is abstract, he represents many people, and his roar is a variety of voices and A collection of feelings, a certain poetic expression.
In contrast, Fugui in "Alive" takes "alive" as the core, which is more specific and personal.
I like "Burning" a little too much. I feel that the male protagonist living in the greenhouse is also a representative of a certain kind of people who have been abandoned by the times, and appeared in "Burning". It's just that the young people in "Burning" will no longer have such ups and downs in life, only some kind of wall that is difficult to climb, and the self-consistent meaning of life that they strive to find.
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