There are several scenes in "Twilight", similarly, they switch from the facial shot of the protagonist Costinan to the group portrait, and then the shot slowly advances to the crowd, like the director Aki Kaurismaki Instead of the protagonist, the camera is used to examine and examine. During the movement of the camera, the perception is also forced from the protagonist’s visual impression of the relevant person into the psychological situation. There are also a few "semi-subjective shots". After explaining the relationship between the characters on the scene, they stayed on the male protagonist. At this time, the dull facial expressions no longer have the basis for independent existence. The static shots are tumbling emotional states...but While lamenting Aki Kaurismaki’s superb technical performance techniques, it is only a means for the director to care for characters, affectionate but unmoving, perhaps only by fully understanding the living conditions of the bottom of the Finnish society can we have confidence. Use your own lens to replace the perspective of the character. The stingy dialogue, subtle body movements, and the calmness presented by the still-life painting composition make people feel that the world of images is still in place with open arms, ready to give the so-called weak social status group represented by the small security guards. Take a hug. This is the humanistic spirit conveyed to me by the film. The jewellery robbery that should have been ping-pong-pong, as well as the cruel psychological infringement and insult to the male protagonist by the society, has always been a visual transmission of neither sadness nor joy. The director did not intend to arouse anger by strengthening the character's personal situation, but instead weakened the individual symbol and described the current situation of Finland for a long time: Finland, a highly developed Nordic country, has a wide gap in the social structure, leaving enough space for humanity to change. Discrimination, hostility, and injury are polishing a person at any time, from values to behavior patterns. In this way, when you recall the vodka-holding night walkers at the beginning of the film, you can better understand why they like Chekhov and Tolstoy more than Pushkin. , Why do they have a strong sense of tragedy. The security guard, who had a sense of pride and had a vision for the future, has been passively accepting entanglements from the surroundings. This is a problem that the well-developed welfare system cannot solve. After he was released from prison, he was resettled. Into a greater social dilemma.
The character in the film is the bearer of a magnificent tragedy, so the viewing process has been kept in a depressed state, but this state has been upward for a long time. From the subjective lens of the security guard Kosdinant, it can be seen that he is right. I have experienced doubts. Such doubts do not need answers, at least when he picks up the fruit knife. The only “fierce” scene in the film implies a resistance to the dark human nature, which is based on The security guard's own understanding and persistence of light is like the film's episode "Light", flowing with a slightly romantic melody in sadness. The director let the scene end here, and Costinant, who was injured leaning against the wheel, began to look firm, like a portrait of a revolutionary.
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