host midnight no one
Hello everyone, welcome everyone to the second day of the 22nd Faroe Island Film Festival No One Knows Roundtable Roundtable, I am the host Zi Ye No One, and the second film we are discussing is "The Trap". Before going further, please talk about the reasons for scoring this score based on your own magazine, and briefly talk about your thoughts on this movie!
Guest Aurora
"Trap" gave me two points, which is a very subjective opinion, mainly because the plot and the relationship between the characters make me feel a little baffling.
Special guest fan2030
I would give two stars. This is the second time I've watched the film of Emissary Kawara Hiroshi. I've seen Rikyu, which is more than 20 years later in chronological order. I would prefer "Trap" to "Richo". To put it bluntly, the reason why I prefer "Trap" is that it is short and concise, and the tragedy of this labor movement story is told in 97 minutes. From the perspective of the labor movement, it was the vanguard of the proletariat even earlier than Kenlodge, the trade union that was so easily disintegrated by capitalists or political forces, and the two innocent people at the bottom who lost their lives. Such a story is too attractive to an unemployed poor man like me. In terms of expression, I feel that there is nothing attractive to me compared with "Rikyu". "Rikyu" is stinky and long, and people who don't understand Japanese history can't watch it at all. It is exactly the same as "Rikyu", "Trap" does not. The highlights in style and technique hardly really attract me, at least they don't make me remember the clear personal characteristics of Hiroshi Kawahara as a director. In other words, it's like the running water biopic of the awards season every year. There are even some expressions about ghosts that make me laugh out loud. Of course, I don't think Trap would be a better fit for the best screenplay.
On -site guest A Mawu
I didn't really watch Trap. It's not clear what the story is. It feels like a story like "Rashomon". Black and white is too difficult, and gave 1 point.
Special guest fan2030
I think it's funny, of course, don't be so harsh, I understand, I just want to barrage. There is a ghost who tilts his head and says that he can only keep his posture when he died. Didn't that woman die on her knees?
On -site guest A Mawu
Has Apichatpong also filmed this kind of ghost?
Special guest fan2030
(In my impression) Apichatpong's ghosts seem to be visible to living people.
Guest Aurora
Is that ghost's character setting a personal characteristic? Isn't there a lot like this? So what was the director's intention?
Special guest fan2030
In retrospect, there are quite a few directors who can shoot ghosts, not to mention those who specialize in horror films. I just mentioned Apichatpong who has filmed the returning deceased several times. There is also one that I can think of in recent years is more impressive. Denis Cotai, who was shortlisted in the Berlin Adventures section this year, was shortlisted for the 2019 Berlin Main Competition for his Ghost Town Event Book. The dead people in the "Ghost Town Event Book" returned to the town one by one, which is still quite impressive.
Moderator midnight no one
I think the image in "Trap" is actually more like a ghost in a Western trap, not an oriental ghost, but more like a "death".
Special guest fan2030
The ghosts in "Trap" have a stronger sense of functionality, because without the perspective of ghosts, the story cannot go forward.
Moderator midnight no one
His logic is not revenge and harm, but more like debt collection.
Special guest fan2030
The question of the two ghosts is always "why kill me". I don't know if it's the director's setting or what, ghosts are not harmful at all. Not showing up, tying you to torture you, and asking why you killed me. Thinking about it this way is really a bit like "Ghost Town Event Book". The ghosts come back, and then the people in the town don't know what they are going to do, they don't talk, they just stick there, the only difference is that they can see or not.
Guest Aurora
I had the same question after watching the movie "The Trap". I don't understand the inner logic.
Moderator midnight no one
I think ghosts first arouse their own desires, then lead them to "debt", and then take their lives to "collect debt". The white-glove man here is actually like a loan shark.
Special guest fan2030
In my understanding, the feeling is that if there is no such a ghost, it is difficult for only living people to fill the complete chain of the plot. If you talk about metaphors, it may be that the people at the bottom have no bad intentions, and they are always asking and wanting to know the answer. They are clearly living a hard life, but they just want to live. They don’t commit suicide or cause trouble, but they are regarded as victims. . After death, all they think about is why I want to live and why they want to kill me.
On -site guest A Mawu
Bad eyes hahaha.
Guest Aurora
If the story begins with a ghost conversation and flashbacks the whole story, would it work?
Special guest fan2030
Of course, it's just that the screenwriter wrote it like this, the director finished the filming like this, and the editing was cut according to this idea. If it was shot like this, the suspenseful effect should be heavier, and it should be a suspenseful film.
Film selection representative, I know a little about her
I have always thought that the imperial emissary Hiroshi Kawagen is an anomaly among Japanese film directors. As one of the representative directors of the Japanese New Wave, he has a unique philosophical and speculative mind. This approach to Western Expressionism makes his films different from any other New Wave directors. The subject of the imperial envoy He Yuanhong is always some abstract philosophical thinking, and his most influential works are his three films "Trap", "Daughter of Sand" and "The Face of Others" adapted from Abe's public house.
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