In Du Pioux's "Rubber Tire Killer," he said: "No reason" is the most powerful style of the movie. No reason, it is the truth of this world. When we deconstruct a movie like we deal with steak seriously, do we jump into the somewhat philosophical trap that Dupieu said? You will die if you are alive, and you will cry if you laugh for too long. After you say goodbye, you still say goodbye. You ask why, but life never intended to give you a perfect answer. Dupieu omitted the part of "searching for the answer". He didn't dismiss the answer at all. When we rack our brains to build a rigorous and huge interpretation system, just like the woman in "Deerskin", once she leaves the script, she will Not knowing what to do, Du Piyo quickly eliminated the heavy reasons behind his behavior.
"Deerskin" opened its head recklessly. After meeting a middle-aged man with a buckskin coat, he fell. He pretended to be a deerskin jacket to speak. He said that he wanted to be the one and only deerskin jacket in the world. He was a deerskin jacket, and that was him. He took different shots of the deerskin coat, rough and broken, like his lonely middle-aged life. There are a lot of low-angle shots in the movie, the unbalanced picture sense, the accent of the mid-life crisis, everywhere, embarrassed on all sides. These irregular camera angles are the channels for us to spy on a man's situation. The deerskin coat became the whole of this man’s life. He used it to arm himself, pour out his consciousness and project it on it, and exhausted violence to fulfill its "unique" desire... Now distinguish between human and material changes. To be meaningless, just like clarifying the boundary between truth and futility is futile.
It is such a story without any skill. The deerskin coat has become the mumbling monologue of middle-aged men, what is longed for, what is missed by mistake, the passion and boredom in life, only when it is concrete can it express its absurdity and weirdness. Du Piyo used a lot of mirroring techniques. In the hotel, the middle-aged man stared at his face in the mirror. The deerskin coat is a distant view. Through the mirror, it is embedded in reality. The narrative tension of this story is hidden in the confrontation between truth and falsehood. When the man started recording, the resistance began. The editor said, you need to get closer. Therefore, this kind of resistance is sublimated into a very specific method under the blessing of violence. The picture in the video recorder jumped out of the imaginary, with a documentary flavor. The middle-aged man realizes his self-worth by looking at "truth and illusion". The mysterious relationship between the two has been broken, and the game has come to an end.
The female editor in the movie saw through the plight of middle-aged men early on. Maybe from the moment he ordered the wine, or when he asked nervously, "Are you talking about my coat". Men's obsession with deerskin jackets is a portrayal of this dilemma. This tendency is a restricted passion that places the hope of self-realization on solid things. Du Piyo set up a time and space of suspense. Editors with good judgment did not break through, but joined the "movie", using their editor status to push middle-aged men to further observe their lives. We don't know the real intention of the editor. This elusive adventure happened between the mysterious editor and the proud middle-aged man. The two elements have become the biggest suspense of the movie. From this perspective, Du Piyo extends our concept of suspense. It is constructed in the fuzzy zone of truth and falsehood, and dives into daily life, yet it does not seem to have conventional thinking.
In other words, in the framework of suspense, the functions of "buckskin jacket" and "editor" are very similar. They are sparks (internal and external) in the life of a middle-aged man, constantly forcing him to approach himself. Situation. His situation, like that impromptu film that cannot be defined with commendatory or derogatory terms, is full of too many possibilities and contains too many unforeseen gaps. He is each of us, perhaps, not only middle-aged people, but also young people. Behind the whim and high morale is fatigue and depression. In this world, no one can escape the destruction of the exaggerated nature of life. After more than an hour, the suspense was degraded in a death with karma. Fleeing the suspense of "criminal law and crime" is given a daily concept, this is the absurd nature of Dupieu!
The dangerous real world is pressing every step of the way. Like middle-aged men, most people indulge in self-created illusions. This is a way of overhead crisis. Different from the absurdity of Camus's "embracing burst", Du Piyo added too many personal rhetoric to the world. He recounted a realm of irrationality, which could turn into a bubble at any time. The former is magnanimous, the latter is unruly.
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