not been so fascinated by a movie in a long time, but I can't find the right words to describe it. Rather than saying I liked the film, it is better to say that I was moved by the sincerity revealed by the director in the film. "There is a lot of love in this movie" - the director confessed so frankly in the interview. However, love cannot be talked about, maybe it can be displayed in a story, but the best way is to experience. It's an experiential journey, isn't it?
The name "Anna" carries too much nostalgia and hope. The director's sister, Anna, was killed in a car accident, and his daughter is also called Anna. In the film, Anna is a young painter who lives in a secluded cave with her father. One day an art sponsor discovered her and invited her to the Madrid Art Village. There, she found friendship and love effortlessly. The beginning is always so good, and life has not yet shown the grim side. One day, she suddenly fainted on the dining table and almost died; when she woke up, her lover had left. Faced with the great mystery of the sudden arrival of life, Anna accepted hypnosis and embarked on a life retrospective journey. Anna saw her past self, repeated trauma and death, how many times did she have to die to reach the mysterious core of destiny? Trying to escape these nightmarish feelings, she sailed across the Atlantic. In a cave of a North American Indian tribe, she accidentally captures her own past and present: she was a wise witch who was brutally murdered by a man. Anna is a mixture of many insulted and damaged female characters, and there is a great goddess prototype in her body, which has a terrifyingly huge energy. So far, the suspense created by the film has been solved layer by layer, Anna's lover left her because she was his mother.
The film is full of concepts and theories, including psychological analysis, archetypal accumulation, collective unconsciousness, and political oppression, but all these vivid visual images do not lead to obscurity. The paintings left by my sister Anna have become the best props for Mi Tan, the closed doors with strange colors, and the abstract rock paintings, all of which are full of pure and clear vitality, but they lack depth. Mouth commented. Depth comes silently. Depth means connection to the past and even a keen sense of history. Anna can only truly come alive when she sees through the claustrophobic door. Behind every door was a woman who died tragically, and those women were all Anna, and she was in close contact with them. For a long time, they have endured the consequences of violence silently, filling the boundless dark world with tenderness.
If the film does not stop there, it is just a mysterious hymn of women. The trauma caused by the war and many violent disputes is the abyss that Mi Tan has to face directly. He pinned his hopes on the silent power stored in women to achieve confrontation, and the female spirit represented by the name "Anna" is the limit of confrontation: it is the cry of the weak, and the tenacity that is powerless to change but never compromise. This resistance turns into a cage-breaking adventure at the end of the film: Anna becomes a waitress in a New York restaurant, enters the room of the "big guy" (the Iraq War initiator) as a prostitute, and pulls angrily in his face during flirting Shit, and in a fit of rage, he beat her hard, almost killing her. This abrupt and blunt ending instantly pulled the audience back to the poignant prelude: the white dove soared in the blue sky and dragged the feces on the eagle's head, and the eagle rushed up and pecked the pigeon to death.
The fable of the eagle and the dove unfolds a cycle of evil and righteousness, strength and weakness, until the climax at the end. Wouldn't the film be smoother and lighter without the ending of this dog-tailed sequel? It is precisely this clumsy ending with a straightforward meaning that shows the difficult combination of art and politics: this time, art is no longer content to play a silent role as a witness to a violent world.
Yes, Mittan didn't say anything new. The female power in the symbolic sense has become the hope of salvation, and the helpless body carries the cruelty of the thousand-year cycle. It's just a cliché, but Mitan gives it a fresh, unadorned charm that brings tears to the eyes. The end of darkness may be light, but the end of light is never nothingness. Anna's life retrospective confirms the accumulation of human consciousness and experience, but also nurtures the seeds of love, which take root and sprout with the weak hope. In this way, Mi Tan fondly remembered, and passionately promised the future, there is no ruins.
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