film is an early work by Emir Kusturica, director of "Underground/City Without Sky". The foreign language film was also nominated, and in the end, the Frenchman was generous and gave it to Palme d’Or. Piggyback seems to have a personal award, I guess my father is too humane in Gein's film. (After checking, it is the International Film Critics Award, which has nothing to do with Dad’s humane ability)
Yugoslavia’s scar literature is different from ours in that people’s laughter and tears are intertwined, and there is no lack of humor. The background is Sarajevo in the 1950s. Similar to the time when we were anti-rightist, it was also a literary prison. Because my father laughed at Stalin and was arrested and went to the labor camp, he lied to the child and told the child that he was on a business trip. Less than.
The wisdom of all mankind is similar. In 1975, my mother and I went back to our hometown in Wenzhou. We did not see my uncle and were told that we were on a business trip. One day at the end of get off work, I saw my little aunt coming. At that time, they had not had time to get married. They were officially my uncle’s girlfriend. They didn’t go upstairs, and pulled my mother to whisper outside the wall of the rice noodle shop downstairs. The speech was very sad and anxious, and soon left in tears. Mom went back upstairs, and the family had dinner, the only silent meal of the noisy and famous "Rain Feet". One day in eight years or so, when I suddenly remembered this childhood doubt, I asked my mother for help, only to realize that my uncle was labeled as a counter-revolutionary and went to labor camp. My uncle was later rehabilitated, and the party had been a factory director for many years. He came to my house as a guest. After dinner, he was noisy and wanted to sing Karaoke.
So when I saw the title of this film, I guessed it eighty or ninety. Unexpectedly, the director’s style is very different from "Underground". The early works are naturally full of the simplicity of the early works. The only familiar is the style of lighting, the diffused light outside and the warm light of the incandescent lamp indoors. still. Some passages in the film have an obvious 16mm style, especially the part that follows the film. The difference between the documentary and the arbitrary sway of "Underground" is very obvious. But back to the dining table at the end, the family dinner of Slavs has the same important structural status in "Underground" and the film. This is probably the director's deepest experience of "alive". Finally, after the coveted soup bowl bottomed out, the camera followed the footsteps of Mariko’s sleepwalking to the top of the tree, completely surreal. This is the Emir Kusturica in "Underground", and I am also standing on the treetop, looking far away. , Saw the cliff split into the sea.
The most eternal passage: Mariko sleepwalking, unknowingly boarded the steel frame of the bridge, his mother did not dare to wake him up, staying on the other side of the steel frame, waiting for him to walk down with a steady smile, and walked into his mother obediently Open arms. In the winter of politics, the only step of freedom is Maliko's sleepwalking. He ran away from home in sleepwalking, confessed his love, and looked for his father...
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