[A start]
Thomas Winterberg was born on May 19, 1969 in Copenhagen, Denmark. His father is a film critic and his mother is a harp player. As he himself said: "Father is respected, mother is very kind. I am very close to them. I like family life and community life." In some respects, Winterberg should be regarded as a typical Taurus, a character A relatively conservative, gentle and proper person. This same dial is a little different from the more famous Lars von Trier.
Winterberg was the youngest enrolled student (20 years old) in the history of the Danish Film Academy, and he performed well during the film school. He won many awards during his student period, and there are many international awards. Obviously it is a typical teenage fame. The precocious genius was exposed in the first few short films. The pattern is relatively tall. Deeply analyze the human situation. Calm and calm. And laid the tone of a large block of cool colors and warm details.
In 1990, when he was 21 years old, the earliest one was probably the first complete work in his life-"sneblind". For 48 minutes, I talked about drug addiction. It's an up-and-coming trial work by a freshman, and the original film is no longer available.
In 1993, at the age of 24, he completed his graduation assignment "The Last Goodbye (Sidste omgang)". This 33-minute short film is truly internationally recognized. It is said that after a person stole a large sum of money from the boss, he had a party with two of his friends. Will never come back again. The film also implies that this person may be terminally ill, but it is only said that he sent a postcard home. The poetic lens, the restrained narrative and the experimental language allowed the film to win two awards from the jury and the young elite at the Munich International Film Festival.
In 1994, the 36-minute short film "Drengen der gik baglæns" (Drengen der gik baglæns), once again received wider international recognition. It is about 9-year-old Andreas's family change-his father was riding a motorcycle with his brother in a car accident. His brother Mikkel died on the spot and his father was seriously injured. The family moved to a new town, but the new school and friends could not save Andreas' trauma. Once the film was born, it won four international awards: Audience Award at Brest European Film Festival, Audience Award at Clermont-Ferrand International Short Film Festival in France, Best Short Film Award at Danish Robert Film Festival, and Tampere International Short Film Festival Award.
It can be said that in the paving stage of "short film awards international-expanding influence-attracting investment", it is quite successful. For Winterberg before the age of 25, the rhythm of the launch was stable and smooth.
In 1995, Winterberg and his 13-year-old Lars von Trier, as well as some influential young Nordic directors, gathered together to draw up Dougma 95, with a peculiar arrogance of young people. And the arrogance of a new reform has laid down ten rules for "pure and orthodox" movies. Wash away all the old guys' film "conventional habits". Unlike Lars von Trier, or Christine Levine's a bit piercingly aggressive air intake, Winterberg is actually more of a neutralizer in the team. As he said: "My entire life and career have been inspired by education in the community. Dougma 95 is a community. I am always a member of various communities."
96, 90 minutes "Big Hero", the first feature film, is basically a product strictly in accordance with dogma's "chastity oath". Won 3 awards at the Robert Film Festival and the Best Actor Award at the Nordic Rouen Film Festival. It's about the bank robbers karsten and peter taking their teenage daughter on the way to Sweden.
In 1998, the 29-year-old Winterberg shot a truly powerful work, and it may be the most critical work in his creative career-"Family Banquet." This film made a sensation as soon as it came out. Everything before seemed to be warming up, and what was waiting for this time was an extremely astonishing expression. The so-called "honesty and courage of a filmmaker", or the brilliance that a genius cannot suppress. Although "Family Banquet" is only 105 minutes long, it is a masterpiece in the true sense of the film history.
The film is about the 60th birthday of my father. A feast where all family members return. The eldest son, Christine, came with a huge secret after his sister committed suicide. He was very calm and told a dark history under the scene where guests gathered-his father raped him and his sister when he was young. After an uproar, almost everyone tried to cover it up. The surface of the eldest son is gentle and calm, but the stubbornness in his bones repeatedly exerts chemical effects. Even if he was thrown out, he would never compromise until he finally got the support and respect of everyone. The image of the father collapsed in front of a family.
This film is refreshing and almost deafening in some respects. The lens language is powerful, the expression is natural, and the "ghost viewpoint" with sharp experiments from time to time is surprisingly unobtrusive. Extremely close to people, life, and narrative. It also fully demonstrates the complex worldliness of humanity, the appearance of sentient beings, without the slightest trace of repetition, intertwined into a picture of moving clouds and flowing water. Deserving its name, "Family Banquet" won a total of 28 awards and 17 nominations. For example, the Cannes Jury Award in 1998, the Golden Globe Award for Best Foreign Language Film nomination, the European Film Festival New Discovery Award, and the American Independent Spirit Award and the New York and Los Angeles Film Critics Association awarded the best foreign language film affirmation, more Set a record in Denmark for all 7 shortlisted prizes. It is still in the IMDB Top 250, and it is also the most significant initial engraving of dogma95.
[A roundabout]
"Family Banquet" is like an overly dazzling benchmark, such as gorgeous fireworks. Spring flowers are easy to break, summer flowers are short. For creators, what came next was a long and roundabout "waiting period".
In 2000, Winterberg shot a total of four works. Two 70-minute TV movies, namely "D-dag" and "D-dag Niels-Henning", the former is about four robbers who want to rob a bank on New Year's Eve while no one notices. The latter is about the story of a blasting expert named Niels-Henning who helped a bank robber set a bomb, but was too nervous to plant the wrong story.
The third part of the same year was a 90-minute documentary about the British band blur. Compiled and filmed a 10-year video collection of the blur band, sorted by year, and extremely experienced and well-received among music fans. It is a high-quality work. The fourth part of the same year was a novel adaptation of the drama titled "The Third Lie", with few information and mediocre response.
In 2001, another 65-minute TV movie "D-dag" started again. It was the same story about four bank robbers. It was also this year that the D-dag series was terminated.
After five years of silence, between 2003 and 2004, Winterberg returned to long-form writing, and they were all English works with international ambitions. Unfortunately, the results were not very satisfactory.
First of all, in 2003, "All for Love". The script that the director spent two and a half years writing was also his first English work. Starring well-known American movie stars such as Joquin Fenix, Claire Dans and Sean Penn. Talking about the future world, the entire universe is facing the eve of collapse. John and his famous figure skater wife Elena are a couple who are about to divorce. When they were on the verge of annihilation, the two people found that the relationship was still strong and it was worth paying all the price to redeem it. But in the end, Jelena still died in the ice and snow. The film is about contemporary marriage and future life, a new vision and expression, such as "Ulysses", trivial daily life becomes part of the epic. "All for Love" made its international debut at the Sundance Film Festival in January 2003 and was shortlisted for the non-competitive section of the 2003 Berlin Film Festival. Finally, he won 3 awards at the Robert Film Festival.
Secondly, in 2004, Winterberg once again created a 105-minute crime feature film "Dear Wendy". It was written by Lars von Trier. The love and spiritual source of this life form a small group of monastic nature to complete the ritual of the interweaving of faith and growth. Of course, the so-called salvation is often accompanied by the destruction of one's peers. Finally, they escorted a black grandmother out, but the old man shot the police. As a result, all these young people were wiped out by the police.
In 2007, "Back to Hometown" is even less known. Tell a famous singer back to the town where he was born. There is also the son of a cook and a new maid. And it involves a complicated entangled affair and old past. The film won only one jury award at the Norwegian Film Festival.
[A kind of rebirth]
Three years later, in 2010, "Submarine" came out. It is no longer Thomas Winterberg who was filming Dogma95's first work "Family Reunion". After a lapse of 13 years, after all, 41 years old, this "Submarine" was once again presented, which is no longer complicated, shaky and emotional. Instead, it is simple, stagnant and heavy. Stripped of the unique sharpness of young people, turned into a lonely melancholic middle-aged. The man who once would rather destroy the harmony and dignity of a large family, but also show his inner justice at all costs, no longer exists. But now, the camera turns to the two frustrated brothers, immersed in the story of being unable to extricate themselves from the trauma of childhood and suffering. There are 8 international awards and 18 international nominations.
However, none of this is as good as the next production. "The Hunt" in 2012 is almost a Nirvana rebirth. For Winterberg, starting with "Family Banquet" in 1998 and ending with "Hunting" in 2012, there should be a relatively unscrupulous 14 years in between. It is also a talented young man who faced a long period of repression and deposition, and finally found a new rule, method and outlet under the experience of the years. More powerful and magnanimous expressions came into being. This kind of magnanimity is fierce, forbearing, restrained, the precision of the breaking point, the breakthrough of restraints, and the establishment of new rules.
This film employs Danish superstar Max Mikkelsen. The acting is superb and shocking. Won a round of praise from the critics. It is indeed a rare masterpiece.
[Working with group portraits]
"I grew up in a community, a very different family. The family is the source of inspiration for the plot. It is synonymous with the past, future prospects and faith. It can cause anxiety or provide the most sincere love. ."
Generally speaking, people and works are often mirror images of each other, which is inevitable. In terms of his works and consistent characteristics, Winterberg is indeed a "combined" creator. As for the so-called gregariousness, it must be able to do well in a group, and be able to observe and express some key things keenly. Of course, this kind of gregariousness is a unique advantage, but it will become a shackle, which is also a question of degree.
In Winterberg's film, the relationship between people and groups is displayed, which is quite natural. The lens tends to move freely and position accurately. The characters are noisy and interactive, static and moving, without any pretentiousness. The accuracy of this degree is not only based on a single lens, but also based on the atmosphere of a group of shots or a paragraph.
To give an example of the opening scene of "Family Banquet", from the indoor brothers and sisters fighting, walking out of the lobby, a crowd of guests came in and got out of the car to greet, greet, and talk for a long time with the three brothers and sisters. Several weird perspectives are not ruled out during the period. The lens goes from indoor to outdoor. Leaving the crowd, or moving through the crowd. Almost like Vertov's movie eyes, flexible and changeable. The angle of view is suddenly far away, or suddenly close. Close to people, but away from time to time. Very natural.
Or "All for Love", in this film that strives to be "pro-American" and play an international card. There is also a remarkable display of group image skills. That's the ten-minute opening scene of the hotel suite. At first glance, the film is a topic of marital crisis, a matter of two people. The way of entry is group. The protagonist arrives in New York and enters the residence of his wife Elena, surrounded by the bustling people—her family, team, and more complicated interpersonal derivations. The protagonist walks through these crowded and busy people, almost in contact with everyone, more or less dialogue and interaction. In this paragraph, the couple's own relationship is hidden in the group, and there is no special positive focus and separate time to portray. However, he is a bit dissociated from the group, and the true feelings can be revealed in the complex. On the contrary, it is far better than the separate passage between the two.
In fact, it is very easy to make group performances relatively exciting at first glance, but it is a natural talent and intuition. For European creators, they don’t grow up in Hollywood, which must be accurate to the standard format of every lens. On the one hand, they allow their talents to be distributed freely, but on the other hand, they are also easy to fall into a kind of situation. A small universe of self-talking, solitary. Although the standard format can hide many flaws, it also suppresses many talents. However, at this point, Winterberg is a particularly good director from Scandinavia, but a rare balance beam.
Therefore, it can be said bluntly that all the essence of Winterberg's passages are focused on the interaction between people and crowds.
From the subject point of view, most of his films are also about people and communities. Loneliness is a retreat from the inside, and gregariousness is also a kind of degree to the outside. For example, in "Hunting", a person has been mingled with the group, reduced to being rejected and banned in a cruel way. Whether it is the harmony of the group at the beginning or the subtle re-entry into the group at the end, the shooting is extremely wonderful. Even though most of the pages are about how the male protagonist is isolated, the really shining passages are some human interactions.
"Family Banquet" talks about the "change of ownership" of a family group. The old father is fully questioned, and a new group structure is constructed. Everyone's position in it is not at all messy, and the various interpersonal details are also very interesting. "Dear Wendy" is a group of depressed teenagers and girls in the town who formed a small group playing with guns. The sense of belonging of the group exerted a strong effect. From then on, if the group of young people have faith, their lives will have vitality. . The team life is also portrayed quite warmly. And "Submarine" may be regarded as a dissociation, a gaze on a lonely individual. Two extremely miserable brothers, intersected in their lives. Small circle, big world. The grasp of this boundary, however, reflects a profound understanding of the concept of group. After all, the so-called group members are not completely incapable of expressing if they are separated from the group, but how individuals and groups can coexist in a reconciled manner. Even this way of coexistence requires the cold singing and an illusion of Northern Europe.
[The Outbreak of the Moderate]
"The Hunt" and "Family Banquet" win in a kind of detached calmness. A sense of tension, desperation, and a sudden calm aura. This is quite interesting. The most distinct point from those failed works is the moment when the heat is so hot that it suddenly cools down, and behind it is a kind of stability to control the overall situation.
The heating up needs a series of technical arrangements of narrative, actors, scheduling and various rhythms, leading to the last barrier, breaking through, and then directly hitting the hearts of the people. This is a kind of weather that runs through the river. No matter how intense the emotions are, no matter how shocking the narrative is, they are all wrapped in an extremely calm gaze. The tension of drama came into being.
After all, Winterberg is not a wayward director, and his creative career has been indulged in the joint point of "too unwilling". It's hard to say that an extremist and big-tailed wolf like Lars von Trier is worthy of advocacy, but being too moderate and conservative will obviously be insincere and weak at the point where it should be powerful.
It can be said that he has tried to be willful, and very willful. Although this willfulness is only superficial. "Dear Wendy", through unscrupulous shooting at the town police against society, incurring social sanctions, a bit of blame, and all ideals and beliefs are relatively unconvincing. Or in "All for Love", escape to a wasteland with no one inhabited by birds. Anyway, the world is over and everything is over. You can stream your consciousness at will. And "Submarine" is the quagmire of reality, poverty, death, and drugs, drawing people into a filth. The cold snow or the cold voice of the Nordic Orchestra washes people on another level. But, anyway, these are not enough. Not strong enough, not to the point, not strong enough.
After all, nature is here. At first glance, it seems to have resisted to the end, and the gentleness in the bones cannot be hidden. This kind of mildness has encountered a superficial hard twist, and it is bound to be inherently lacking in strength. Obviously, the resistance of a moderate being forced to the extreme is the field Winterberg is best at.
In "Family Banquet", the eldest son is thrown into the deserted woods. In the wilderness, he fell into deep thinking. Afterwards, he calmly returned to the family banquet, found a seat, sat down casually, and listened to a suicide note from his younger sister—it really exposed his father's ugly behavior.
Similarly, at the end of "The Hunt", Christmas Eve, the hero was scarred from being beaten. But neatly dressed, a man dragged a slow and steady pace towards the church. The whole town gathered there, and "innocent" children formed a choir. He sat quietly alone in a row of seats (others were scared away). Weeping, weeping ceaselessly. He kept looking back to see the father who lied that he molested his child, his best friend. There was a burst of repression. He stood up abruptly, rushed over to beat and question this former partner.
A word that was not finished, twisted his head once, or sat in protest with an unyielding attitude. In front of the character is often a situation where two ends are blocked. Extinct, dying. Instead, get the quiet moment before the burst. A slingshot whose tension has reached its limit, a position that has long been isolated, and the final dignity and bottom line. To be honest, such mirror images and weather are hard to find in many movies now. Adding a few more characters that Winterberg is generally persistent and persistent, and what is accomplished are shocking moments time and time again.
[Original and
Shortcomings ] In the past ten years or so, Winterberg's transformation is obvious.
A politician in France once said that it probably meant that if you were not a radical when you were young, you would not have much success in your life. You are still a radical after thirty, and you won't have much success. And this sentence is also very well confirmed by this slightly gentle and intelligent director.
In 1998, Winterberg shot a deafening "Family Banquet", which is regarded as a pioneering feast of Dougma's 95. After that, he went all the way to Waterloo, and a series of dedicated native speakers and even English feature films have received mediocre response, and it is generally considered that Jiang Lang is exhausted. This reached a tipping point in "Submarine", which was depressed in 2010. Almost everyone did not realize that this was a counterattack brewing, and no longer had much expectations for this director. It can be said that this is the same way as the decline of Dougma 95, a case of a radical end. It can also be said that there is no table, no parting, no joy. Even as the founder of Dougma 95, he has to begin to admit: “Dougma is a resistance to traditional directing. It can be said to be suicidal.”
Later, Winterberg recalled this period and said: "In a way, I have to look back where I came from. This was before Dougma, when I was making films in film school. It was a certain ignorance and pure. we can never repeat history, but always can draw inspiration from. I had a wonderful time confused and suffering, and as a source of inspiration. I thought I did not return to that state. "
It can be said of 2003 "Dear Wendy" and "Everything for Love" in 2004 are indeed thoughtful works, but they all failed because of the embarrassment that they could not find a strong point, and the failure of taking the American imperial line. Time after time of unacceptable attempts, a variety of untimely radicals-although the radical directions of the two films are also completely different.
In "Dear Wendy", the first half is biased towards warmth and orthodoxy, a small town youth who lives like a pool of stagnant water. Because of a coincidence, he got a small real gun, met a friend who knows guns, and two people gathered in Working together to study guns and naming their pistols, they also drove other ordinary young people from small towns to join this group. Although he carries guns, his purpose is to carry them, and he believes he maintains the peace. It is a kind of fetish pleasure. The second half of the film fell into an absurdity that was too anti-social. In order to protect an old black lady who shot and killed the police with an abnormal mentality. This small group was killed one by one after shooting many policemen.
"All for Love" is almost the same problem. The opening of the film is very self-contained in twenty minutes, and the cutting angle is also atmospheric. There are many characters, row upon row, the texture of the city and the cold touch of the end of the world are very good. In the end, it slid all the way to a somewhat boring narrative-a closed two-person world, purely lyrical. And because of the woman's special identity (a famous figure skater), it is difficult for people to have a sense of substitution. On the genre of romance films alone, I lost to many outstanding Hollywood works. There is a lot of thinking about people and the world interspersed with it, and it is more inclined to the context of masters such as Bergman. The synthesis is a bit mixed.
It can be said that "Dear Wendy" and "All for Love" should be Winterberg's painful struggles between blockbuster aesthetics and self-style. And "Submarine" is a narrative that returns to the European tradition of "lonely people", but it is a dull expression that is not very successful.
These films have exposed many of the director's shortcomings. Of course, no creator may not have shortcomings. The key lies in how to effectively bridge, avoid, and play what you do best. The good news is that "The Hunt" has almost completed a miraculous regeneration.
[Experiment, no experiment]
It's hard to say whether "Family Banquet" fully complies with the somewhat crazy Dougma 95 Code. But its striking temperament and revolutionary spirit are indeed very commendable. This is a memorable beginning. Its sharp and new characteristics are also reflected in every creation after Winterberg.
As far as this 98-year-old work is concerned, the revolutionary nature of silent adherence is almost reflected in the narrative and picture every minute and every second. The lens is shaking and shaking, and the light is sometimes dazzling and sometimes dizzy. More often, even the horizontal lines are skewed. However, these are irrelevant. It does not reduce the slightest bit of excitement, and it can even add points. The foundation laid on this is a profound and solid foundation, and the good artistic and humanistic qualities of the Nordic youth are also indispensable. At first glance, the chaotic scenes seem to have no structure, but in fact they are implicitly controlled to a great degree, clinging to the major topics of the structure of each paragraph. In order to express reality, narrative and emotion, the camera has always given close-ups at critical moments. In large crowded scenes, on the one hand, there will be a lot of panoramic views (although the angle is strange), and on the other hand, it does not forget to cruise in the crowd. Shuttle, the plot and the individual state of the people are clear. One of the more remarkable characteristics of the whole film is that in order to imitate the sight of the dead sister, a lot of "ghost viewpoints" are used, that is, it seems that there are people who often peep in the corner. Sometimes there will be a blur on the lens. Rain, fog, snow, mud, etc., are quite realistic. Of course, it was accompanied by a sudden change of viewpoint, the light that flickered like a ghost. Sometimes the camera does not capture the entire face or the entire scene. It's like a violent experiment. Of course, the seemingly chaotic language of the lens is quite powerful, thanks to the exquisite design of the script, the meticulous, and stern narrative.
But in some subsequent films, this kind of revolution was weakened, and it was not until "The Hunt" that a perfect balance was found again. For example, "Dear Wendy", there are also certain controversies about anti-American, ironic and anti-Hollywood intentions. But this is mainly reflected in the ambiguity of the narrative. The absurdity of rebellion is ridiculous, but the tragic but sincere. Although the subject is reversed, most of the shots are quite satisfactory. Of course, there are actually many ways in American commercial films. It is holding the red flag against the red flag. For example, there are a few passages where several protagonists draw a map of the terrain and sphere of influence of the town, labeling them one by one, the rubbing of pencils, and the cheerful background music. Another example is gathering in abandoned buildings to study firearms, and the state of each person, you can feel that these young people are indeed putting all their spiritual energy into a career. It's a very skilled montage combination, and it's the usual way in Hollywood.
In fact, with the exception of some of the earliest studies, most of Winterberg's films do not actually follow Dougma 95. First of all, the "director cannot be signed" cannot be done. And the film must not contain superficial, false behavior, murder, weapons, etc. must not appear. Or it must happen in the present world. In "Dear Wendy" and "All for Love", almost all broke the rules, and there was nothing left. As for the soundtrack can never be recorded separately from the image, the soundtrack cannot be used. Props and backgrounds are not allowed. Don't light it up. The camera must be handheld. The film format must be 35mm and so on. It is more or less not so pure. Or maybe it is this style that oscillates between experiment and non-experiment that is the real Winterberg style, not the other.
[Several movies with business cards]
"Family
Banquet" At the end of "Family Banquet", the male protagonist won a war that almost ran through the first half of his life. The shadow of childhood disappeared like a haze, but he staggered and fainted in the corridor and began to escape into an illusion system. If someone is holding a candle, or it is himself. The candlelight was dark, bright, and dark, each time it was shining a different figure. He staggered, the footsteps at the end of the corridor and the sound of the phone, symphony. He opened a door. The sister who had committed suicide looked at him with a dim smile. He said I will go with you. My sister said no, I'm leaving now. The two hugged for a long time. In the next moment, the hero returned to reality, and the bell kept ringing.
If this section is handed over to Hollywood, it is definitely not this kind of filming method, nor can it be said that it will be very bad, but that set of sensational ways is already well-known. This is not the case. It is truly amazing, without any upgrades, downgrades, soundtracks and pauses. Don't make rhetoric, but point to people's hearts. Like a piece of uncut original raw material, it exudes a surprising texture.
It is worth mentioning that this film is relatively empty in the portrayal of the role of father. For example, the male protagonist later questioned his father: "I never knew why you did this!" The father said, "I did it for your own good." It was rather unconvincing. Or his father said angrily when he was isolated: "You are all stupid and incompetent offspring!" The father is vague. It is very similar to the huge stone stele that the fifth generation of the country is accustomed to toss down. His decline and departure, or being beaten to the ground, are relatively only external signs. Young and radical creators may not be able to better portray such a character, and more likely, they are not interested. And the role of the actor’s younger brother, who has some personality problems, has even served as a variety of trouble-making and thugs functions. Brain). What's interesting is that the director played the role of a taxi driver and sent his sister's black boyfriend to the banquet. There are also a few close-ups, which are hidden eggs, which can be found carefully.
"Dear
Wendy" The time and place of "Dear Wendy" is quite abstract, in an unknown American town where the time is unknown. A mining town. Poverty, isolation, ignorance, lack of materials, simple life, and dull like a stagnant pool. This kind of metaphor may be a kind of metaphor, and this kind of metaphor runs through almost all the plots. For example, the mine, such as the name of the gun, such as the sex pistol club, such as cowboy modeling, such as the rock music that plays from time to time (you can find the source for those who love textual research), more such as the black boy and his black grandmother, such as the treacherous and vicious town police. This is similar to Kubrick's "Character-Historical Metaphor" approach in "The Shining". The overall approach is far worse than others, but it should be the same concept. Of course, you can also ignore this deliberate suggestion and think it is an over-interpretation, just as it is an ordinary story. A story that tells how "faith" fights against existing social rules, and tells the Jedi resistance of some losers after their dreams are shattered.
At first it was a young man in a mine who got a real gun by accident and made a friend who knew guns. The two studied firearms and carried them secretly, like adding a copy to life, becoming confident and cheerful. In reality, he has also become hard-working and vigorous. Gradually, they wooed new partners, and the other three teenagers formed a secret small group where guns and peaceful coexistence existed. Everyone's condition has improved all the way and has become a new look. Until joining a real juvenile offender, the black child Sebastian, the original intention of the team has changed a lot. Sebastian, who has experienced the outside world of crime, ignored their ideals and thought that they were just kids playing in this cruel reality of real guns and live ammunition. A series of frustrations collapsed the hero who took the gun (Wendy) as his faith and lover. Decided to do a thing using guns for "justice and love"-escort a black grandmother who shot the police back home to fight with the police in the town. It directly led to the collective destruction of this team.
In Lars von Trier’s original script, the characters were set to be around 20 years old, but Winterberg later changed them to teenagers. Later, Von Trier also admitted that this idea was great. Jamie Bell, a young British actor who is famous for "Out of My World". The young people in the other towns also performed very well. The film won the St. Silver George Award at the Moscow Film Festival. It can be regarded as an anachronistic feedback to the world's rebellion. The film
"All for Love" can
be regarded as a lost New York. The lens shot New York very beautifully, with a cold tone. At first glance, it looks a bit similar to David Fincher’s usual urban space shooting method—quiet, cold, and so on. Dip in water. And this film does have a particularly large opening and structure, and it took a large-scale approach at the beginning. Two people like bodyguards picked up the male lead at the airport. A series of icy conversations between front and back, followed by shuttles in the hall. There was a dead person on the escalator, and the two calmly told him to "step over." Then came the car, the perspective inside the car. Looking up, Manhattan’s buildings are lined up with dark bricks and limes, or overhead shots, fountains, sculptures, huge new buildings, and Ding Dong music, together presenting the cold and blue-gray New York. And this kind of polar colors and the sense of dreams in the clouds and mists run through to the end of the film.
Overall, it was a recognized failure. The same is the emotional theme. Going back to the past or childhood, the leader in the genre of "Beautiful Mind Eternal Sunshine" can capture the chaos and intangible nature of the film.
A wonderful idea, very good art design and photography director. Even Winterberg spent two and a half years writing this script, but the book is really problematic. Similar to "Melancholia", the background of the destruction of the earth and the arrival of the end has forced some characteristics of human nature. In the final analysis, the more this oversized universe/human subject matter, the more a relatively closed drama/stage structure.
The setting of the duplicator in the film is also a bit stiff and a bit uncomfortable. Not all goals can achieve a good result. If there is chaos at the starting point, the chaos will get worse all the way.
The
reason why "Submarine" is called "Submarine" is probably to simulate the potential suffocation in the water and blur the line of sight when looking into the distance. This theme of "life is a pool of stagnant water" may not be familiar to local audiences. From this perspective, "Submarine" is really not a pleasant movie, and its unpleasantness does not just float on the surface. Instead, it goes deep into the bones.
"Submarine" has a very exciting beginning and a very exciting ending. They are childhoods with implied hope, a little dream and transcendence. The young brothers play with the newborn baby in the white and flawless sheets, and give The naming baptism is holy and beautiful. It's just like the elder brother when he was a child smoking a cigarette on the sofa alone, skillfully and indifferently, until his face disappeared into the darkness, with the vicissitudes of seeing through everything, unforgettable. There is no doubt that the child dramas in this film are far more moving than the adult dramas. It can be seen that the film intends to use the simplest way to show the love of brothers, feet, and father and son. It has the meaning of washing the lead and reducing the complexity to be simple. It also uses two lines to describe the adult lives of the two brothers, none of them. It is not over-repression, failure and chaos: one is lonely, violent and withdrawn, and the other raises a son, takes drugs and sells drugs. But in the end, the two looked far away in the Xuetian Prison, few words, more speechless, one entrusted the young son to the other, and then died peacefully, and then cooperated with the Nordic Independent Orchestra's strong penetrating power. Leng Li's singing also has a bit of power that really touches people's hearts.
However, it is very likely to be a new round of closed, self-talking loss. Although there is a heart-wrenching sincerity in the whole text, there are also a few extremely beautiful passages, which are quite moving. But on the whole, it is still unavoidable that the field of vision is limited, gentle, lengthy, and emotional first and self-indulged.
"Hunting"
A hunter in a small town, who is also a kindergarten teacher, was tactfully rejected by a friend's daughter, a precocious little girl, after confessing. The little girl who knows nothing about the world lied that he was sexually molested. This caused the male protagonist to lose his job and fell into a desperate situation of being insulted and isolated by the whole town. Even though the little girl had already stated that she was lying, the rules of the adult world were unfolded in another indifferent way. Everyone chose to believe in their beliefs, ignoring the truth, and still carried out a cold moral encirclement and suppression against him. People hunt deer, or people hunters. Like the last cold gun, the muzzle stares straight at you, with nowhere to hide.
"Hunting" was a dark horse in 2012, which moved the world directly. It's hard to tell whether the actor makes the film or the film makes the actor. But it was almost a film tailored for Max Mickelson. The script originated from a letter received after Winterberg finished filming "The Wedding Banquet" in 1998. This letter came from a snowy night and told an unjust case of being accused of sexually assaulting a minor. After more than ten years, it was an extraordinary expression. And Winterberg, who said, "Now that the dust is gone, I have a better idea of what I want to do", and he has returned to the first few years. On the one hand, there is a unique calmness in Nordic films, something in natural blood is extremely difficult to follow in other regional creations. On the other hand, there is a calm narrative that an anxious heart can never express. What's more, Winterberg is really a cold director. There is no hatred and excessive catharsis, everything is powerful and restrained.
Compared with the previous creations, a sense of texture is preserved, but it is no longer an inexplicable and ambiguous ambiguity. Like a sharp blade, it has been tempered. Back to the strength and hostility of "Family Banquet". The tension is on the verge of being, but it is hidden under a forbearing and calm appearance. In the external form, there is no gorgeous effect or exciting sound and color, but it is obsessed with the dark and cold tones, trivial daily activities, the slow motion of the characters, the silence, and the long-term fixed shots. And internally, there is no longer a tendency of self-defeating loss, but a strong and broad mind. Entrapped in the deer in the forest, village life and the complex interplay of human nature.
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