this point of view, the words written by the director after the ending credits may not be a kind of sentiment. Hope:
"To all the children whose parents don't allow them to appear in this film, everything is getting better."
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"Dezhou Beihai" is based on the Belgian female Author André Sollie’s best-selling novel "This is Forever" is adapted. The growth story of the original book turned into a pure love story by director Bavo Defurne. Pim's sexual awakening was unusually early, without any hesitation or uncertainty. His love is a matter of course: Since he grew up with Gino since he was a child, he takes each other as a lover of course. This setting has both advantages and disadvantages. The advantage is that he doesn't fall into the common out-of-the-box pits of the same shadow, but the disadvantage is that he can't see the mark of growth. The director portrayed Pim’s first love to be very beautiful and dreamy (in the tent, the viewer’s liver trembles...), but this love is like frosting on the surface of a cake, lacking a deeper connotation that is above sexuality—— It can be seen from Pim's quick empathy for the young gypsy Zhuotan.
Of course, Pim's precocity may be related to his family and social background. The movie is set in Central Europe in the 1960s, and many gypsies who survived World War II had difficulty integrating into the local society. The Jewish nation has established its own country, and these gypsies adhere to the wandering tradition of no permanent homes, crossing borders one after another, and writing their own history with wandering. This kind of national characteristics of advocating freedom and being away has attracted many local Europeans. Pim's mother Yvette is one of them. She may not be considered a bad mother, but her lack of responsibility for her son is definitely the key to Pim's rapid maturity.
Pim (and Gino)’s family relationship is one of the few director’s commendable plot treatments. The picture that Gino’s mother took out when she was dying was like Qifeng's emergence, giving an unexpected turn to the story that was originally flat and straightforward. It explains a lot-why Gino's mother has been taking care of Pim like this, why he is a member of this family, why he refuses to show his daughter the photos of his father-like a bomb that was suddenly sacrificed. Before we recovered, the movie came to an end: the two boys (I don’t know why) were entangled, entangled, and entangled again, making the audience feel at a loss and a hint of palpitations... in
general I am not satisfied with the director's narrative and editing ability. Bavo Defurne's greatest strength should be the visual picture. In his lens, the cold and vast North Sea, the reeds undulating with the wind, and the paths of white fine sand all have the beauty of depression and alienation. In contrast, the colorful decorations on the interior walls, the bright and lively shirts of the boys, and the Texas pub filled with orange lights. These elements are very beautiful when taken apart, but piled together is wasteful and causes the plot to be loose. If I insist on picking the most useless one, I will not hesitate to cut "Texas", because in the film "Texas" is more of an intentional symbol, and it has nothing to do with the plot. (Bavo Defurne also said in an interview that the main reason is that he likes this building-the building is an important cultural heritage of Belgium, don’t you talk about it...)
Pim is considered the most successful (or the most three-dimensional) character in the role. But letting a child bear the feelings of an adult prematurely is at the expense of the character's growth. Maybe I shouldn't ask all children to start with a blank sheet of paper. Once people pass that stage, they will never recover. Then-
if you are well, it will be sunny.
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