Minutes of the post-viewing symposium on Barmac's work "Osama"
/ Organized by Fan Daming /
Time: March 16, 2013 (Saturday), 11:08-11 :
28am Henglu
Art Cinema Barmac's work "Osama" after viewing)
Participants: (Preface) Fan Daming, Ma Yile, Jin Aiwu, Zhou Ning, Li Haiyan, Cai Ling, Sheng Lifang, Xiang Fuying, He Ji, Lu Xin, Chen Xingsheng, Fan Dayin, Gao Lei, Ye Saijun, Wang Yuxiang (viewers: Ji Boqing, Xu Bolin, Yu Han, Zhang Aibai, etc.)
Moderator: Fan Daming
Records:
The strong political stance and political factors of Cai Ling's film and the language of the director's film Implicit and Condensed Methods
Van Damien: The film "Osama" was produced ten years ago in 2003. It won an award at the Cannes Film Festival that year, and the following year it won the Golden Globe Award for Best Foreign Language Film - the latter is the Hollywood Foreign Press Association of the United States. This is obviously related to the strong political stance and political factors of such a film that directly exposed the Taliban dictatorship and brutal rule, which was born only two years after the September 11th incident in 2001. Of course, watching this film should not avoid the political content of the film, but to express the ideological theme of this film, the director (and screenwriter) is also very good in the use of film expression means, that is, film language, which cannot be ignored. At the beginning of the film, not the protagonist but the sub-protagonist appears first; and the first shot is not a character, but a close-up shot of a prop in the character's hand, which is the iron cylinder in the hand of Espandi, a boy who sells incense and prays for blessings. . Boys hawking and praying for blessings are borrowed in the name of goddess to drive away bad luck, eliminate disasters and ward off evil spirits. Maybe it is really good for heart and lung health. This is also a very distinctive expression of local customs. Then we see him getting a $N bounty for his shrewdness and then going on to pester a new buyer - the film's heroine, Osama, and her mother, who are trying to get rid of the boy's entanglement for the first time. . The boy claimed that "this blessing is free, the gentleman will pay", and said to the camera: "Don't shoot me, shoot the woman over there." This "woman" refers to the women who came to the demonstrations on the street— —I saw the women in the procession, all covered in blue veils, shouting the slogan "We want work, we want the right to work! No politics, we are starving, give us work"; and in this paragraph, Obviously there is a photographer who is even willing to pay the subject to shoot, but he never appears in this section of the film. It would make sense to interpret the off-screen photographer as a photographer who was directly on the film crew of the film "Osama"; but the film later shows the Taliban holding a public verdict, with two Western journalists, a man and a woman. He was actually sentenced to the death penalty of shooting and burying alive because of his news activities. The so-called "criminal evidence" immediately presented by the judge was a camera! Only then did we realize that what the boy Espandi said at the beginning, "Don't shoot me, shoot the woman over there" was exactly what he was referring to, referring to the fact that he paid the boy to face him without appearing in the painting. The photographer who also videotaped the parade, he should be the male Western journalist who finally appeared on the screen here. We also recalled that the footage that appeared in the front had a sense of shaking, which means that it was a reporter-style rush to shoot an emergency. the result of. In the film, the Taliban arrested several women marching on the prison van, and a Taliban militant beat the camera with a baton until the film turned black, which also showed that there was an off-screen photographer and his camera. The situation of being beaten and stopped. If the idea of the film embodied here is that he was shot just because he did his job as a journalist, then its exposure to the atrocious politics and atrocious laws of the ultra-conservative, ultra-narrow nationalist Taliban is indeed true. It is ruthless and profound, and at the same time it reflects the director's use of film language. It is even more clever and highly artistic, because it uses deep connotation and very subtle methods to superbly handle the potential of the film story. plot clues and potential character relationships. Another example of the film’s subtlety and simplicity is that after Osama went with her mother to take care of the patient, the mother and daughter were taken home by the patient’s family using the front bar and back seat of the bicycle. They were disciplined by the Taliban on the way, accusing her mother of fighting. The hem does not cover her bare feet, which will trigger a man's excitement. In the whole process of this paragraph, the director used a close-up shot, so that the Taliban only had a voice-over (accusation voice) and finally did not show the picture of their face. In addition, the performance of the exposure of Osama's female identity is also handled very neatly in the film - that is when she climbed a tree but couldn't get down, was punished by the school for hanging into a well, just happened to have a "period" and couldn't control herself, The "red" on the calf under the trousers finally revealed its gender - there is no other more language to express it. As for the fact that Osama was finally gifted as a female slave to an old local landlord as a concubine (the sex slave wives and concubines locked in the courtyard of his house, even in groups!) and ended his virginity, It was suggested to the audience by the scene of the old landlord returning at night entering the hot iron bucket to take a bath. As the end of the film, it is the intensive and final echo of the entire film's subtle and concise techniques, which makes people feel endless emotions and sighs in the aesthetic association. Because it has a deep connotation and a very subtle way, it superbly handles the potential plot clues and potential character relationships of the film's story. Another example of the film’s subtlety and simplicity is that after Osama went with her mother to take care of the patient, the mother and daughter were taken home by the patient’s family using the front bar and back seat of the bicycle. They were disciplined by the Taliban on the way, accusing her mother of fighting. The hem does not cover her bare feet, which will trigger a man's excitement. In the whole process of this paragraph, the director used a close-up shot, so that the Taliban only had a voice-over (accusation voice) and finally did not show the picture of their face. In addition, the performance of the exposure of Osama's female identity is also handled very neatly in the film - that is when she climbed a tree but couldn't get down, was punished by the school for hanging into a well, just happened to have a "period" and couldn't control herself, The "red" on the calf under the trousers finally revealed its gender - there is no other more language to express it. As for the fact that Osama was finally gifted as a female slave to an old local landlord as a concubine (the sex slave wives and concubines locked in the courtyard of his house, even in groups!) and ended his virginity, It was suggested to the audience by the scene of the old landlord returning at night entering the hot iron bucket to take a bath. As the end of the film, it is the intensive and final echo of the entire film's subtle and concise techniques, which makes people feel endless emotions and sighs in the aesthetic association. Because it has a deep connotation and a very subtle way, it superbly handles the potential plot clues and potential character relationships of the film's story. Another example of the film’s subtlety and simplicity is that after Osama went with her mother to take care of the patient, the mother and daughter were taken home by the patient’s family using the front bar and back seat of the bicycle. They were disciplined by the Taliban on the way, accusing her mother of fighting. The hem does not cover her bare feet, which will trigger a man's excitement. In the whole process of this paragraph, the director used a close-up shot, so that the Taliban only had a voice-over (accusation voice) and finally did not show the picture of their face. In addition, the performance of the exposure of Osama's female identity is also handled very neatly in the film - that is when she climbed a tree but couldn't get down, was punished by the school for hanging into a well, just happened to have a "period" and couldn't control herself, The "red" on the calf under the trousers finally revealed its gender - there is no other more language to express it. As for the fact that Osama was finally gifted as a female slave to an old local landlord as a concubine (the sex slave wives and concubines locked in the courtyard of his house, even in groups!) and ended his virginity, It was suggested to the audience by the scene of the old landlord returning at night entering the hot iron bucket to take a bath. As the end of the film, it is the intensive and final echo of the entire film's subtle and concise techniques, which makes people feel endless emotions and sighs in the aesthetic association.
The Taliban are radical Islam and have no laws. The video shows the scars that happened just yesterday, the great
Ma Yile: in one sentence, heinous! The Taliban are radical Islam. What the film shows and exposes is the situation during the Taliban dictatorship. The Taliban's law enforcement actually means that there is no law.
Jin Aiwu: The description of the unique social angle of the film is surprising. The portrayal and performance of several children's images not only write about their innocence, but also very real. The film should be produced after the Taliban stepped down, but it shows the strength and courage of the scars that happened just yesterday, which is extremely great.
Zhou Ning: This kind of film can't be seen in other places outside. It allows us to understand the situation in other countries and has a deep feeling after watching it.
The film's shooting skills are amazing. The soundtrack is very ethnic and symbolic
. Li Haiyan: The film's shooting skills are amazing. For example, in the long shot of the depth of field in the hospital corridor, the fixed camera has been used to shoot a deformed lame child limping towards the end of the corridor. There are also scenes of little girls jumping rope constantly appear.
Van Damien: The scene of jumping rope first appears in the film, in a dream of her sleep, at the moment when her mother cuts off her girl's characteristic braids at the advice of her grandmother. The action of skipping rope should be said to appropriately express the innocence of the protagonist who is still a virgin girl. The soundtrack of the film is very ethnic and also very symbolic. For example, the soundtrack similar to some kind of weird sound effect sound at the beginning, as well as the mournful soundtrack of the whole film, such as weeping and so on.
Sheng Lifang: The film truly depicts the very simple side of the girl's human nature, such as the scene where she inserted her cut braids into a flower pot.
Other relatively minor factors that contributed to the final outcome of the girl Osama's personal encounter or fate
Fan Daming: Under the premise of affirming the basic anti-Taliban tyranny theme of the film, there are other relatively minor factors that lead to the final result of the film's girl protagonist Osama's personal experience or fate , I think it is also worth noting and analyzing. There are obviously three main characters involved here: the mother, the grandmother, and the boy Espandi. (1) The mother took her daughter Osama (before menswear) out, which was dangerous in the situation at that time, which was criticized by the grandmother. (2) Grandma was confused by legends and stories, and easily believed in the possibility of boys becoming girls or girls becoming boys. It was unrealistic to think that men and women were no different, which was contrary to the tyranny of the Taliban in power; in the end, the mother obeyed the will of the grandmother and took advantage of Osa. Ma cuts off her braids in her sleep and makes her disguise herself as a man to get a job (the mother herself is about to lose her job because the hospital she works for is about to close down) - here, the two female elders try to make the whole family depend on the financial resources of the whole family. It is obviously unwise to do something for such a fledgling little girl, and it is also a shallow view of local women that is almost taken for granted. (3) The boy Espandi, he had an encounter with Osama from the beginning (when the mother took her daughter to the street to meet the women's demonstration), of course he has a good impression of her. However, it was he, knowing that she was a girl, when they were involved in the Islamic school training together, he actually led her to do a boy's game - climbing a tree. The reason for the exposure of Osama's female identity was during the second tree-climbing activity that Espandi arranged for her (in order to prove "she" to other schoolchildren who had doubts about Osama's gender) not female). But Osama is not a capable boy like him after all, and this "proof" just became a "counter-proof" in the end. Smart is mistaken by smart. Clever Espandi did a foolish thing here - he loved Osama but killed Osama (mother and grandmother did the same thing). After the film showed Espandi's extremely distressed scene of being chased by everyone for Osama's "revelation", his image was never shown again. I believe that he will be saddened and regretted for the rest of his life. Finally, (4) the secondary factor in addition to the above three people is Osama himself. Although Osama has not lost her virginity, she is still sensible. She knows the power of the Taliban. The film also depicts her concerns about her disguise as a man in several places. But she did not object or reject what the people around her did for her, whether it was "good intentions" or helpless actions. In this way, her tragic fate was under the background of the Taliban's tyranny. become inevitable. Although to
I was impressed by "Osama", and its shooting level was better than that of a large number of domestic literary films
. Cai Ling: It was the first time I watched an Afghan film. Through the film, I learned a little bit about Afghanistan and the women who were struggling to survive under the tyranny of the Taliban. During the Taliban rule, Afghanistan banned not only film and television, but also photography, education and work for women. The director's technique is quite delicate, and the non-professional actors' acting skills are also in place. The little girl's four dreamy skipping ropes is heart-wrenching. The film undoubtedly uses a Western perspective to tell all of this. Whether or not it won a Western award mainly because of a Western perspective, the shooting level of "Osama" is indeed better than that of a large number of domestic literary films. I believe that the Afghan people will agree with this film, but what is the attitude of the current Afghan government? Although the Taliban has been overthrown, what is the status of Afghan women today is a matter of concern.
Xiang Fuying: "Osama" was the first movie I watched in Henglu. I usually rarely watch this type of movie, so I was very impressed. First, the director's shooting angle is very delicate, like the little protagonist has a scene of skipping rope, which appears many times, using her innocence and tragic encounter to form a sharp contrast, the ending abruptly ends, leaving people unfinished; second, the performance of the little actor It is in place and admirable. Because the emotions are so real, the whole heart has been following the actors to grieve and resent. I will definitely come back to Henglu when I have time!
Organized on March 21, 2013, supplemented on 22-24
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