the similarity that should be pointed out is of course the theme. The two films also have the theme of "searching", so "traveling" has naturally become a form of "searching". The search goal is somewhat unspeakable. It can be understood as a kind of "innocence" ("Landscape in the Mist") and a kind of "root" ("The Gaze of Ulysses"). Therefore, the protagonists of both films are With a kind of "homesick" (the "homesick" mentioned in "The Gaze of Ulysses") of returning to its origin. The difference is that in "Landscape in the Fog", the director focuses on the individual, and the "father" becomes a secular symbol of the two children's search for goals; while in "The Gaze of Ulysses", which focuses more on history, the director Focusing on the once-unified Balkans (Theo used the same actor to play women in three places to explain this connection), the three volumes of film recording became extremely important-for that. A period of history that has happened but is not remembered, and the three volumes of film recorded but undeveloped have become its proper symbol. The interesting thing is that the director sets the male protagonist as the director, and asks him to find another photographer's film. Here, personal and history, history and reality are fully and closely connected.
Another point of interest is the huge hoisted statue that appeared in the two films. Whether it's the arm of an ancient statue in "Landscape in the Mist" or Lenin in "The Gaze of Ulysses", their suspended shots are full of surrealistic beauty and full of meaning. The choice of the theme of the statue has become a reiteration of the theme of the movie-in my opinion, the arm seems to point to ancient Greece, and the statue of Lenin means the modern and modern history of the Balkans.
"Fog" can be regarded as a symbol of "life" in both movies. In "Landscape in the Mist", the owner's justice is dedicated to removing the fog of life and finding a spiritual home. This makes the "fog" bring a kind of sad but not complaining atmosphere. But in "The Gaze of Ulysses", the life interrupted by the war can only continue when the fog appears. At this time, the "fog" instead brings a joyful atmosphere.
The last similarity lies in the director's handling of atrocities. In front of the camera where the director stares, the brutality is obscured by some sceneries (the truck in "Landscape in the Fog" and the fog in "The Gaze of Ulysses"), but it appears extraordinarily cruel and makes people palpitate.
Having said so many formal things, what did they find? I dare not make false statements about this. In "Landscape in the Mist", Theo warmly let the two children find the olive tree, but in "The Gaze of Ulysses", the three rolls of film still failed to develop at the end, and the man's eyes were teary. He said:
when we dream she keeps close
in between hugging each
between each call of love
I'll tell you that the journey
exhausted all night time
with all the upcoming night
between each embrace
each A call of love tells the story
of all people’s journeys
without ending
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