I really like Varda

Margarette 2022-03-16 09:01:07

Varda’s entry point is always reality, but her strength is fiction. This masterpiece of realism lies in the tension between the two. Her seemingly documentary filming method secretly demonstrates the fictitiousness of the story: all the pictures about Mona's life are fictitious. People who intersect with her in reality are telling her story, making her into their own narrative body; while the film uses fictional power to give the free and wandering Mona the right to exist completely autonomously and freely. On the one hand, the camera scans her body carelessly like other characters in the movie, and on the other hand, it features a close-up of the whole process of her gradually falling from freedom into hardship. In the end, when she finally died, the virtual story burst out with endless realism.

Colten 2022-04-20 09:02:21

Naturally, it came naturally. Mona is probably the most dramatic person in everyday stories, but the film is about the most everyday life of a drama person. Mona's experiences are often unsympathetic, because it is her own choice, she can easily arouse people's kindness, but she rejects them. But at the end, it seemed that she was so pitiful, and the day when ordinary people derailed was a huge blow to her, and ultimately contributed to her death. What Varda is best at is finding dramatic tension in everyday stories and telling the most ups and downs stories from the most straightforward perspective.