The 2nd screening day of the main competition unit of the 4th #Faro IslandFilm Festival# brings you "Love of Hiroshima". The following is the evaluation of the publication group!
East Coupling:
Generally speaking, this one doesn't touch me, probably because of the long monologues and the strong literary atmosphere that make it a little difficult for me to watch the movie (it's time to make up for Duras' original book)... What left the deepest impression on me was not love, but the traumatic memory of World War II. The sand-like bodies touched together, the bloody land of Hiroshima, the wounds left by the war, the flashbacks of alternate time and space, an excellent way to set off.
Mimi:
The photography composition is so beautiful, is love and hate only love?
Grey cat:
Delicate and deep.
This film is a boring film. The 15-minute documentary footage of the film has an impactful reflection of historical events, from the scars brought by love to the scars brought by the times. The combination of documentary images and shooting expresses the director's reflection on the war. The female protagonist is a victim of the Allied country, and the male protagonist is from a defeated country. The heroine's collapse and confusion come from the unforgettable love of sudden death, but also from the venting of public violence. The lines are concise, poetic and even a little bit arrogant to express the emotions about the entanglement of love and the indictment of war. The two fell into a dream and couldn't extricate themselves. It was a beautiful but sad dream.
Although a large number of prose dialogues are arranged in this film, it does not hinder the presentation of good music and shots. The fixed lens shows the scenery, and a large number of light and shade relationships and light and shadow make the picture rich in layers and textures. Divide by area to reflect the relationship between characters and emotional direction, as well as the collocation of near and far. All of this ensures that the film doesn't stop at just relying on dialogue as a driving force, nor does it degenerate into a boring long dialogue.
Compared with the male protagonist, the heroine's performance is more challenging because it contains much larger transitions and spans. The grasp of all kinds of delicate emotions: restraint, collapse, joy, etc. Although she has a face similar to Hepburn, her performance and control of the characters are indeed difficult for many actors to match.
The only thing that's a little elusive should be the intention of the ending, which could have been handled better. This kind of ending has a taste of playing with words, but it can be understood but cannot be expressed in words. In this case, the ending is a bit blunt.
Aurora vovo:
Aaron Renai really likes to dig out the characters from the psychological/conscious level of the characters. Generally speaking, all we can see are the external expressions of the characters, and Renai used a kind of expression in Hiroshima Love. It shows the inner world of the characters in a very magical way. The delicate psychological descriptions that appeared in the novels in the past are realized at the visual level through the language of images. The seemingly unrelated places of Neville and Hiroshima also form a bond in the conscious world of the characters and even produce a narrative intertextuality. What we can see from Hiroshima Love is not only the story itself, but also the wonderful influence of people's subjective consciousness on people's perception of the world. (For example, the city has become the incarnation of people in people's subjective impressions, and the city is based on the subjective consciousness of people, Neville and Hiroshima are both) This kind of experience is unmatched by other films in #FIFF4# so far of.
Sweet Tea♂I:
Lose love and find love.
Xiaofeng and your waning moon:
Visually captivating, with a bit of a stream of consciousness that makes the film uniquely charismatic. The surface of the film is an affair, but in fact it is about love and forgetting, and the core is still a reflection on war. However, what I can't accept in this film is that the second half of the film makes this Hiroshima love seem like a one-sided entanglement of the hero. The heroine was obviously already dead 14 years ago. At most, the protagonist only evokes memories, and does not see the response of love. Obviously, the story of Renais cannot carry what it is trying to express.
We Min Hee:
The incredible sense of alienation between the characters, the love between two cities.
Dan Stevens:
I remembered a short film review I read before, "Discussing three views in a movie is the most nonsense thing", and it's just right to use it here. In works of art, as long as there is a protagonist's halo, extramarital affairs can also be photographed as touching and earth-shattering. Maybe watching these movies a few years ago would have made me cry for the characters who dare to love and hate, but now, that's really not my thing.
La La Land:
On that day, she came to Hiroshima to shoot a peace-themed movie, and met him, a construction engineer. They fell in love. In this scarred city, they briefly abandoned the moral shackles of marriage and lingered in a hotel room crazily. . They talked about love, about war, and she told him a secret and walked to the parting station.
The highly symbolic nature of the film allows characters and cities to have unexpected meanings of their own. Hiroshima, which was bombed by the atomic bomb, is the most cruel and extreme symbol of modern warfare. The flower of love blooming in this land looks delicate and beautiful, but underneath it is full of holes.
This kind of riddled with holes is not the broken walls of the city. In the context of the war, the scars left by the small people's hearts from the tragedies of the times are far greater than the damage to the country and buildings. She fell in love with a German officer, but "betrayed" her motherland. She shot the gun of her first love and the knife that cut her hair, driving her to madness. The country can be rebuilt, but people who have lost love and dignity cannot.
This relationship in Hiroshima is her reconciliation with the past, the war, and herself. The Japanese builders rebuilt Hiroshima and repaired the ruins in her heart.
In the end, he called her "Neville" and she called him "Hiroshima", and their love became the love of two cities.
"Hiroshima Love" is a classic work of the French New Wave Left Bank. The film's implication is obviously advanced and profound. Compared with Alain Resnais' other masterpiece "Last Year at Marienbad", " The structure of Hiroshima Love is more complex and the practical significance is stronger. The result is that the plot cannot be clearly understood, and the movie is cloudy and foggy.
The New Wave can become one of the greatest film movements in the world, enjoying such a high status, it must have its unique charm, but the narrative mode that complicates simple stories is not acceptable to all audiences.
#FIFF4# For details on the score of the main competition journal - this link
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