The year before last there was "Ten minutes older" (Ten minutes older), which contained fifteen short stories of ten minutes: Bernardo Bertolucci's "Water Story", Mike Feggis' "About Time" ", Yili Manzuo "A Moment", Estefan Saber "Ten Minutes Later", Claire Dennis "Facing Nancy", Volker Schrondorf "Enlightenment", Michael Reid Fu "Indulge in the Stars", Jean-Luc Godard "In the Darkness of Time", Aki Culismaki "Dogs Without Hell", Victor Iris "Lifeline", Werner He Erzog "Decades Ago", Jimu Jamush "International Organization, Trailer, Night", Wim Wenders "12 Miles from Thona", Spike Lee "We Will Be Looted", Chen Kaige "Depth of a Hundred Flowers".
The narrative is between the documentary and the MV, short and concise. They are all profound masters, and often a simple lens has far-reaching implications. Watching such a film is like guessing a riddle, trying to figure out the intentions of those old men hiding behind the camera. Tired, but challenging internal strength is exciting.
(Here is a summary of each short story) http://bbs.skytiger.name/archiver/tid-39822.html I
watched "Sad Movies" not long ago, which can be vaguely seen from the posters, and it was the Koreans. Type of imitation of film. Excessively highlighting the connections between unrelated people makes the plot a little immature and inseparable from the deliberate romance that Koreans are good at. However, the story of the three groups of characters is still very good in setting off the theme, full, vivid, and contagious. This is what Koreans are good at.
Compared with "Ten", "Nine" has fewer stories, focusing on 9 women. Each story is close to 20 minutes. There is more room for narration, the rhythm can be slowed down, and the characters can be more full.
What I want to sigh the most is that every story in "Nine Lives" is made up of a super long shot in one go. The camera follows the heroine of each story. Judging from the migration of the camera, it is indeed taken in one breath. This is a challenge to the actor’s skill. The ability to speak lines, similar to the physical abilities required on stage, cannot be interrupted, cannot be stuck, and what kind of emotions are needed must come at the word, there is no opportunity to adjust, and there is no director or anyone else. Help guide and inspire. Success depends entirely on the actor's grasp of the script and the characters, especially the emotional changes of the characters. The characters must be entered, and everything must be natural.
Here, every woman faces a difficult choice.
Sandra: Is the mother serving the sentence more obedient and strives to go out as soon as possible and be with her daughter forever? Or is it to make the life here better than some unspoken rules involved in the chaos of the prison, dealing with other female prisoners and prison guards?
Diana: Encountering an ex-boyfriend in the supermarket, from the unexpected reunion that brought surprises, embarrassment, helplessness, hesitant to speak, to ignite memories, the two couldn't restrain their passion. It's just that her swollen belly and the ring on his hand reminded them from time to time that the ten years in between cannot be wiped away. All she could do was to rush out of the supermarket door after he left, crying for the back of the man who disappeared into the night.
Holly: She hated her father. He took other women home when she and his sister were asleep. She and her sister have been raped. She left in resentment, spending time outside alone, but her boyfriend also left her not long ago. When she returned home this morning, looking at the house and yard she was familiar with, she kept telling her sister the memories she had left here. The embarrassing past made her heartbroken, but her father's warmth still lingers in her memory. She hates him, but she is contradictory. When she finally faced her father, she took out the prepared pistol, pointed it at her head, put it down again, put it in her mouth, and put it down.
Samantha: My father is a painter (or sculptor, can’t remember) in a wheelchair with his left side paralyzed, and my mother is a housewife. She dropped out of the boarding school at the request of her father, but her mother did not agree with this decision. In the camera, she wanted to read a book at the desk for a while, but she was either called by her father or her mother. They kept pulling her from different directions, and she walked back and forth between the rooms of her father and mother.
Sania: I went to my friend's newly moved hotel apartment with my boyfriend as a guest. (Note: The husband of a good friend is Diana's ex-boyfriend in the second story) During the conversation, there was a dispute with her boyfriend, the subject of which was whether or not to have children. This seems to be a topic that bothers them and has caused many quarrels.
Lorna: Attend the funeral of the ex-husband's current wife with my parents. Everyone who knew her despised her appearance. During the banquet, the ex-husband ran out of the auditorium. In the lounge, he told her that her favorite was her, and asked for ML. She hesitated again and again, but agreed.
Ruth: She is Samantha's mother. She went to the motel and opened a room with a man she had just met. A girl next door was taken away by the police. While the male partner was out shopping, she talked with the waitress who cleaned up the room. "Those stars are connected again. They are not connected for some people, but also for others." "We all have our best beds." This is what the girl who was taken away said to the waiter , What reminded the heroine at that moment. She went back to the room and called her daughter and told her that she would go home immediately. Then she dropped the man and went home.
Camille: Was diagnosed with breast cancer. She was agitated and emotional before going to the operating table. Under the control of pessimism and fear, she was dissatisfied with her husband and the nurse (Holly). She didn't fall asleep peacefully until the sedative was injected. The husband leaned over, rubbed her cheek with the tip of his nose, and said to her who was sleeping: "My dear, we want to be together forever."
Maggie: This is the last story and the one with the weakest plot. Maggie is a woman who is close to her twilight years. She brought her teenage daughter to visit her grandfather's grave. In the cemetery, in such a scene, the audience can generally guess the possible dialogue. This is everyone's home, no matter how you choose, you can't get around the ending. "We walk, everyone with the necessary luggage." She was frolicking with her daughter, and suddenly stopped, crying: "I'm tired." At last the camera turned away and turned to the tombstones in the distance. Then, it's the subtitles.
The director arranged for the connection between these nine women to be very secretive. Regardless of the theory of six degrees of separation, or the theory of stars in the sky, we are all connected with each other. This is beyond doubt in Marx.
If you understand it from the perspective of feminism, it might be sensational to say: Sisters, we live together in contact with each other. We are silently participating in each other's lives. Occasionally I am the protagonist and you are the negative center, or you are the protagonist and I am the negative center. Your inadvertence may affect my whole life. We multiply and live endlessly, and we are heading to the same ending.
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