When I saw the first part, I could feel the obvious style of Lars Von Timor. I looked at it from a perspective that was extremely out of reality. It was full of ridicule for the so-called decent upper-middle-class life and the rituals of life. Late weddings, pre-ceremonies Dip in the bathtub, scramble the books on display in the library in anger, everyone wants her to be normal, complete a decent social event smoothly, and look forward to obediently completing the rest of her life.” Mission", but seeing her slowly spiral out of control, even as she tries to stay awake and ostensibly normal. She tried to chat with her mother, father, and new husband again and again for help, but they were all rejected or ignored, and everyone blamed all the problems on her own body, "We have paid so much for you, why can't you be happier? "...Everyone shows their own greed and ugliness in it, and the director expresses a complete sense of detachment in the form of romanticism.
This feeling was familiar to me. I remembered that I was immersed in such emotions for a period of time this summer and couldn’t get out. I was drowning in indifferent water and couldn’t breathe. I was wrapped in layers of emptiness, and I couldn’t find the location and existence. Value, cut off participation from the outside world, as if you can levitate and see yourself clumsily trying to say something but hesitant to say anything, what's the point of waving your fist in the air? The powerful inertia of the outer world dictates that you commit yourself to execution without questioning, so that you will be liked and rewarded for your place in it. Being unable to fight but unable to integrate, I felt that it might really be my problem. There will also be an endogenous urge to reverse the rules of the day, and that is the end of the world in the second part, which presents an interesting counterpoint to the first part.
Perhaps the biggest question after reading it is, what is the connection between the depression in the first half and the end of the world in the second half, which seems to be linked only by a planet also called "melancholy". The apocalypse presented in the movie is not as immersive as in a sci-fi movie, so that seeing her sister Claire when she found out that Melancholy was going to crash into the earth and went mad, she didn't really empathize with it. It seems that the director did not. Like highlighting the reality of the apocalypse, on the contrary, it is more imaginative because of its artistic shaping. This conjecture was confirmed when I watched Lars von Trier's exclusive interview, he said that the pure power of depression has the power to destroy everything, "is to find Presenting this destruction and the sweetness of it. Justine called the planet and it arrived. There is joy in disaster. This joy in suffering is also given by depression It is a tempting act to destroy everything. There is a line from the Danish poet Tom Kristensen: We have a desire for destruction, slaughter and sudden death (Fear, 1930). The end of the world in the second part can be seen as the imagination of melancholic longing for disaster. In the first part, Justin, who was on the verge of collapse, was indifferent, calm, detached, and rational in the face of the end of the world, which seemed completely opposite to before. The roles are reversed, as if they have powerful prophetic and sentient abilities.
Towards the end, Claire almost had a nervous breakdown. At the last moment, she desperately ran around with her child to find a place to live. She even planned to drink beer and sing songs on the balcony with the three of them, creating a kind of atmosphere. It is a habitual illusion that her husband, who has always appeared in front of people as a smart, intelligent and capable scientist and intellectual, also chose to commit suicide when he learned that the end was coming, and cowardly avoided everything. At this time, it was Justin who was a melancholic. Standing up and building a magic space with the children has a full sense of power.
In a world that was completely subverted from before, she could finally be brave enough to be herself, and would express love and pass on love to her relatives. At that time, she powerfully broke through all the pretending of the false world of symbols, frankly with each other, hugged tightly, and bravely In the face of all unknown things, isn't this also our common yearning, when the end of the world seems to have become a beautiful thing. From being swallowed up by melancholy to giving out love, this is also a kind of echo with my own state, and it is also a dazzling and beautiful planet that hits me.
The instant, long-lasting shock of the blue planet's impact is really beautiful. Lars Von Trier has used various artistic styles, the scenes are grand and magnificent, the music is magnificent, and the beautifully laid out pictures make people feel full and fulfilled. Language has a strong artistic, both formal and content output. #Make up the third part of Yuwen's favorite movie series#
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