Good crew stills can also become a documentary director. This film is a drama photo about Hersso's filming of "Overland Boat". The question is not here, the question is, in 1980, why would a European go to the rainforest to complete a Sisyphus metaphor with movies and Indians.
After Nazi Germany's prescription for spiritual crisis and its practice failed for Germany, even Europe and mankind, peace itself cannot alleviate the spiritual crisis in Europe, and people's spiritual anxiety continues. Indigenous, rainforest, African and Islamic countries, they are watched in the angst of Europeans. Rather than saying they were being treated "politically correct", as Hersso showed in the film, fighting for land titles for them, condemning timber, oil extraction for environmental damage, the impact of Western civilization on them, etc., they were Project morbid sympathy to these innocent residents. Love their life close to nature, envy their peaceful and divine world, and hate their ignorance. But at the same time, Herso also prayed to them, hoping to find a cure for the spiritual crisis in Europe in this uncivilized land. I don't know who needs help more, like a cancer patient complaining to a chronic cardiovascular disease patient in his eyes, or a beautiful man taking pity on himself.
Rather than saying that Hesso, his performance art, and even the movies are great, it is better to say that Europeans still have a strong tendency to totem worship in their bones—an attempt to visualize a certain mental state. When Hesso set up his totem in the wild and slowly moved up the steep slopes, trying to heal Europe in spiritual crisis, the documentary did not place the local natives, the sacrifices and cultural beliefs of the Indians in it. Contrast - a more primitive and spontaneous totem than Herzo's Landboat. The documentary shows only a few of the patterns on their faces, bows and canoes, and ends up saying that the local indigenous people tried to sacrifice the 300-ton boat to the river god — an act similar to what Herso did to Herso. Deconstruction of Totems. However, the documentary did not show it.
When Herso learned that pulling the boat up a steep slope with a 40-degree inclination, death or injury was a high probability event, he did not stop. He believes that this is the fate of man, that it is inevitable for any religious ceremony, and that the blood must remain on this land. Of course he didn't want his Indian friend to have an accident, and if anyone had to sacrifice, he would like to be the first. He wanted the blood of a white man, a brave white man, to keep the natives safe. Yet how different is this from Hitler's racism? The ego and the superego are always irreconcilable contradictions in Herso. Bloodshed, death, and suffering are still the thorns that the German director must bear until the spiritual crisis in Europe is completely lifted. Art, movies, may be able to relieve some of the pain, but it is also destined to bleed, for which the setbacks and failures in the filming process are nothing.
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