"This is the meditation after being trapped in calmness and loneliness. The depression that has never been released makes people tremble."
In various senses, "Ge Chu" is a masterpiece that is no less obscure than "Joan of Arc", but its experience in word-of-mouth after its release is not as lucky as "Meng Nan". There are more negative comments about its "emptiness" and "boring".
The story of this film is very simple. The whole film tells the love story of a woman who is dealing with several men. Because the current husband Gustav was busy with work and did not give her enough love, Ge Chu decided to leave him and put him in the arms of the young musician Erlan, but was rejected by Erlan, and finally Ge Chu refused all the men to retreat to the mountains and forests. The other story line is that the old feelings of the past continue to flash, so the whole story is that the protagonist Ge Chu walks backwards on the story timeline without stagnation, while constantly looking back at the past and even the past, Gusta The trivial memories of the husband, Erlan Janssen, and Gabriel Leadman, and these memories actually did not leave Ge Chu’s perspective, but were the common memories between the two, and these past events continue to intervene in the present and continue to affect Ge Chu and these elements continue to influence the overall film, and at the same time, the film is constantly moving in an open spiral.
Unlike "Day of Revenge", this film focuses on the quiet indoors instead of focusing on the cross-editing comparison between nature and indoors. The scenes of the reception rooms, studios, and banquet halls are scheduled in a circular manner, and closed indoors. The use of long shots cancels the overlap and interleaving of the content in the depth of field, compresses all the content within the foreground, negates the use of spatial lens scheduling depth division, and replaces the dynamic frame of the lens with a series of dynamic frames. The images with the depth of field or the flat depth of field form a flowing lens (similar to the choir sliding close-up shot in the last part of "Avenging Day"): the continuous movement of the camera from close-up to mid-range or panoramic view, and also refers to the absence or absence of depth. The abolition of perspective treats the middle ground or panorama as close-ups, and Delaire once again comes to the perspective of mental aspect, just like "Jan of Arc", and at the same time, there is a close-up of "blank". Through the so-called "abstinence technique", a completely enclosed space is created, and the extreme closure brought about by such extreme repression has turned into the extreme openness. All emotions spread to the flat image itself, and all the closure remains in the whole. There is a large amount of blank space that cannot be unnoticeable. The infinite spiritual loneliness and the endless conversation at the same time, the melodious chamber music in the background, the structure of the chamber play, and the enclosed indoor space, Ge Chu is in the absolute "blank on the blank that can't be photographed".
At the same time, the use of a large number of "doors" in the room seems to symbolize Ge Chu and her spiritual world. Everyone is immersed in memories, trying to find clues about how to get to this point through memories, and all memories and communication lead to misunderstandings. I don’t know why I broke up with Gabriel, why I was with Erlan Janssen, why my feelings became like this. All kinds of rational psychological and religious analysis finally defeated before the unsolvable spiritual dilemma, and the paradox is Ge Chu dreamed that his dream of being chased by wild dogs was the same as that on the tapestry. It seemed that Ge Chu was pursuing his freedom, and through this paradoxical tapestry, it seemed to imply that everything Ge Chu had chosen was really a kind of conceit. In the arrangement, human beings will always be controlled by a force.
Since "Day of Revenge", Dreyer's work has gradually "slowed" down. The story itself is wrapped in the extremely slow rhythm of the film, and as the component that promotes the development of the story-the dialogue between the characters is in turn used by the image language- —The film as a whole and even the whole group package. The characters in "Ge Chu" are purely "presenting" dramatic texts that are almost self-talking. At the same time, they are accompanied by the movement of the camera with the movement of the characters. The camera movement emphasizes the "change" in the narrative, while the text itself is lifeless, the isolated "performance" is separated from the image and the environment, and it highlights the perspective relationship on the spiritual level.
At the same time, there are very few cross-editing of this film, instead of traditional editing methods, as Bodwell said, this is a film with "abstract" colors: it brings together almost all "classic film editing rules, camera movement, lighting "Sound effect principle" ""Ge Chu" is a performance or a collection of specimens. It collects and enumerates the various possibilities expressed in traditional movies, and binds them into a collection."
"However, they are just decorations like grilles. They are redundant in the narrative. This is also the'extreme' of the film." "Ge Chu" realized that she could not express her "reality" in any way. Delaiye’s "Ge Chu" made Ge Chu unable to express himself, or that he had already expressed himself, but we could not perceive the "plot". It seemed that we could not perceive Ge Chu. All our expectations fell through. Leyle tried to express a pure "blank", such as John Cage's "4'33"; an "Adventure"-style "presenting the ultimate proposition of mankind in anxious and silent way"; the shape is like Godard's "Weekend" A long shot of a car accident that makes everyone anxious, mad and curious, this film is also a pre-publicized "Nothing", it stubbornly resists the possibility of capturing meaning, trying to avoid all in-depth thinking, just to express a complete void Stateless, Deleuze mentioned a view of space. The boundary of the film lies in the emotional image of the empty space. If it is a masterpiece, then its outstanding point is that it completely opposes the existing masterpieces. We can also get a glimpse of the changes in Leyle’s film entry methods "God’s Proverbs in "The Day of Vengeance"; the records of the trial and history books in "The Dilemma of Joan of Arc"; the subtitles of the prophet in "The Vampire" Card; "The Bible in Words" and "Ge Chu" entered the film without difficulty. It seems that it is easy to enter from "nothing" to style. Ge Chu's dreams, music, and poetry extend infinitely to "nothingness". "Uncovering the outer shell of the relationship between men and women and feminism, when we look closely, we may find that it is like a castle in the sky, with nothing inside.
Finally, I conclude with a passage from Baudwell. I think Baudwell has summarized it clearly enough:
"I once said that "Day of Vengeance" achieves what Adorno described as "a structure that cannot be seen at a glance", so the structure of "Ge Chu" is hidden in the dark realm. Just like "Day of Vengeance" and "Words" and "Ge Chu" are delayed, one-shot movies that subvert the traditional "movement" movie. It lengthens the process of our perception, and the narrative does not progress during this prolonged process. Therefore, it is difficult for the film to provide the'film pleasure'. It also does not encourage the'active audience' to'find or create meaning' from it, because it is inherently'nothing'"
(PS: The title quoted in the quotation marks is the evaluation of the film by "Movie 65" during the film's screening in Paris)
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