Pure sci-fi movies may seem to me to be a pseudo-concept—if there is at least one consensus that cinema is always a means of expression, not just an experiential device. Then a movie that purely pursues sci-fi settings and technological imagination may not be called a movie. After all, if the film leaves the subjectivity of human beings, what expression can there be? The same is true of science fiction movies. Even if the entire field has changed, as far as its subject is concerned, whether in the desert or in space, it is nothing more than thinking about life and death, thinking about oneself, thinking about the existence of Dasein in the world.
People are always on the run, no matter how great the escape may seem. There is a falsehood behind this greatness, as if the hero was actually a murderer, as if the rebels were just homesick. This kind of falsehood is not a contrast between brilliance and obscurity, but the complex life is obscured under a simple principle, so that people completely lose the ability to deal with this complex life. How to face yourself, how to face the separation of your beloved wife, how to face the heroic father's abandonment of his wife and children, and how to face yourself who can't handle these? Because I don't know, I can only escape, whether it is to cut myself to let myself completely dead inside, or completely sacrifice myself to the great God, or the cause directed by the great God, it is just escaping.
But this kind of evasion doesn't solve any problems, because a system conceived by humans cannot cover all situations in life by any means. The film deliberately points out that the system strictly forbids any uncontrolled emotion, and follows orders and rank. This system is like a spell passed down from generation to generation. You are born in it, you take the decrees issued by the system as gospel, the dreams provided by the system as the will of God, and judge by the standards provided by the system - not even the grand ones, not necessarily the sharp ones , it may just be the endless emptiness filled with desire, just those deaths with weird rashness, which are "fireworks of the heartbroken man Liuxiang / Lonely Soul Wild Ghost World". All imply some kind of falsehood.
One of the necessary conditions for the system to maintain itself is to cover everything as much as possible, and to devour as much flesh as possible. This intention to cover and devour, or to pretend, instead makes those overflowing qualitative parts more and more anxious and distressed. Like those scarlet shadows, those huge shadows and small people, like that angry orangutan, this reminds me of watching a girl share her childhood abuse experience, she said, because of this incident, her heart is long is filled with an anger, a destructive impulse. The anger brought on by trauma is indeed like an angry gorilla, it seems to have no clear object, no clear cause and effect, and it just stirs in your body.
It's not just loneliness. In other words, loneliness is not just loneliness, loneliness is the self-closure brought about by trauma, the body and mind flying into space and escaping from the earth. The film uses a lot of shots that allow people to see visual limitations, because they have never seen real life, never know who they are, take off those definitions, take off the brilliance of those stalwart careers, who are you, Where are you, what kind of trauma did you have, and how did you reconcile with the trauma. The starting point to answer these questions is, at the very least, touch real life, touch real life.
Although before and after Roy found his father, he could be said to be doing the same thing - helping humans solve problems. But in fact there are two different people: the live roy and the rotten roy. That collapsing roar, how like that orangutan. But it was this roar that brought him back to life.
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