An idyllic and quiet opening scene with Gothic. Dahl's "New Wave" begins very similarly, with the same soothing, postcard-like scenery, and then follows with an incredible story that can't be explained clearly and doesn't need to be explained. Callas has been experimenting with a new cinematic language, greatly expanding the film's emotional character, replacing rational narrative with explosive emotional outbursts. His protagonists always appear very dangerous, and their inner world is rich and simple - with very different feelings for different objects, but nothing more than extreme love or extreme hate. They are violent and crippled, and this insufficiency is sometimes directly manifested in appearance, such as the stump of the hero and the bad eye of the heroine in "Lovers in New Bridge", while the heroine in "Pola X" The protagonist is completely like a creature from the non-human world. Like beasts in distress, they have a destructive power that can explode at any time, but this destructive power often points to themselves. Callas's hyper-personal cinematic language is sometimes unacceptably sharp, often accompanied by a scalp-tingling veil of horror that makes one's heart race. We might be a little more relaxed if these irritating elements were only present in fantasy plots, but the most disturbing scenes are precisely the ones that are realistic. There is an overly realistic sex scene in "Pola X", and the design of the camera seems to be specially designed to let us see the physiological response of the male and female protagonists' sexual organs. Sure, it's porn, but it's not porn in the normal sense. Callas made a series of filming rules for himself in the early years, one of which was not to shoot nudes, but in "Pola X" he broke his precepts, doing this is not for pornography and pornography, but for plot development and characterization. necessary means. Everything is subject to the "emotion noumenon", which is the lifeline of Callas' films.
Watching Callas' images, the internal organs seem to be in a state of weightlessness all the time. His abruptness and hardness are sometimes reminiscent of Takeshi Kitano, but his poetic brutality is more humanistic than Takeshi Kitano. Ashes are also inexhaustible romance. An inappropriate analogy, Takeshi Kitano is a realist filmmaker, and we can easily find a sociological explanation for the plight he shows, but Callas' romanticism transcends specific social situations and is a compliment to modern people, especially It is a metaphysical interpretation of the spiritual predicament of modern young people.
Callas' fascination with brutal youth also reminds me of another director, Shunji Iwai, but the two men's work has a very different temperament. How should I put it, the hat of petty bourgeoisie is easy to wear on Iwai Shunji's head. Even if the exquisiteness of Callas' images is definitely not inferior to that of Iwai Shunji, it is still impossible for you to describe Callas with petty bourgeoisie. Works like "Swallowtail Butterfly", which deliberately got rid of national and racial restrictions, still cannot reach the realm of "transcendence" by Callas, and the most unbearable "Dream Traveler" has not escaped the weakness of modern urban diseases deeply rooted in the director's soul. Shunji Iwai is an urbanite in modern society, and Callas seems to come from a mysterious universe where time and space cannot be measured.
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