any carrying exaggerated, jumping rhythm,
intense, irresistible conflict,
rich in grief that is quickly softened on the edge of eruption
, deeply imprinted on one's hippocampus,
with a fierce and domineering attitude
in Schopenhauer's There is
almost no happiness in the world,
because people's greed is too great and it continues,
and it is precisely under the whip of such perseverance, in the large and small incidents that are full of sadness and vicissitudes,
only one look at
each other and understand each other
. The scene of embracing and weeping,
one's pupils dilated instantly,
one was stunned, one leaned over and took a deep breath in the lingering smell of the pillow,
when we were fully immersed in our own emotions,
I thought that happiness was
in Lai Shengchuan's peach blossom garden, tragedy and Comedy is like two sides of the same palm. Has penetrating fast conversion ability.
Reaching a point of state, there is joy in sorrow, joy and sorrow.
I'm in pursuit of this ultimate state.
I pursue the black and white status of any event.
But the reality is that all things are mixed together, disguised as a gray ambiguous figure.
Then.
Then.
Turbidity in such grayscale attempts to clarify the picture.
Back to the purity of black and white.
When I remember so many pictures, so many emotions, so many extremes, it means that such films are my favorite. I don't have a life as a director and screenwriter, but the satisfaction of some ravaged characters in other people's visions can make up for a few shortcomings.
As a Turkish-German director who always cares about the anxiety of the motherland, Fatih Akin's anxiety slowly settles in "On the Other Side of Life".
He also began to avoid direct and even aggressive emotions, and launched a soft offensive. (Of course, Rouzhong still carries a little impatience and compulsive will.)
The intertwined fate of people in two countries tries to cross religious barriers, ethnic conflicts and political positions, and peacefully unify human nature.
The reason why the contradictions and estrangements exist is that they have accumulated in the torrent of history and cannot be resolved.
Unless, an extremely violent regime, a total extermination, or, a republic that abandons rule and competes for the desire to achieve everyone.
Fatih Akin's fantasy, bordering on romance, is worthy of respect even if it will be proved futile by the course of history within a limited period.
The deep topics under the picture make all forms of expression tend to be backgrounded in a simple mode. A flood of multi-stage styles.
A pair of Turkish father and son settled in Germany, a pair of Turkish mother and daughter, a pair of German mother and daughter, three-stage structure.
Fatih Akin's delicacy lies in the fact that he knows how to avoid the limelight of the protagonist and let the big and small events come to an end. Restrained passion, avoiding the danger of being deviated; a conversation of understanding, avoiding the normal thinking that becomes family ethics. But it also brings a little regret, and the motivation point of the contradiction is slightly blurred. A little bit of a sense of disappointment being dragged down by the clouds.
He is not romantic. Because of the phenomenal depiction close to the ground. Because of the core focus of sincerity.
He is romantic. Because of a few misses. The coffin passed by. Tear down of the missing person poster. A sleeping figure in a dull classroom.
The 35-year-old director has a long future ahead of him. He began to look forward to how his fantasies would converge or amplify in the next few decades.
I'm chasing a luminous character in the future. I hope he abandons the system, abandons the craftsmanship, abandons the similarity, abandons the exaggeration, abandons the stacking, and abandons all neurotoxins that lead to disillusionment.
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