Then, it should be like the work of Spanish painter and film master Victor Ailes, which makes the characters silent and nature shakes. Paddy fields, forests, rugby fields, roads, Finnish bathrooms, birthday banquets, the blurred exterior scenes and the real interior scenes echo each other, rushing towards the road of visual art. In the silent and late night, the Minotaur flashed into the bedroom with fluorescent light, and the endless shot aimed at the ocean waves, inevitably made the audience lean on last year's Palme d'Or "The Tree of Life". Not long after the scene left the forest, it was really pulled to a big tree in the forest. The big tree that the activated chainsaw was about to face was indeed a big tree related to life in the final movie time.
Any preconceived notions caused by rich viewing experience are thwarted by the subsequent development of the image (sorry, it is difficult for you to tease out a definite narrative). The director didn't want to wait for the rain to pass and the sky clears to make everything bright, but intensified his efforts to lead the film to hazy and chaos. The little girl came home with the barking dog before the rain, where there was a brother who was not a few years older than her, a beautiful mother, and a father, Juan, who was often violent and abusive. They live together in a remote Mexican countryside, where life is like another world, but sooner or later, their world will meet ours and present a blurred, expressionist collision in God's vision.
Therefore, in my opinion, "The Willows and Flowers" is a symphonic poem with a vague theme, a world where quiet and violent juxtaposition, and Stravinsky's symphonic poem "The Rite of Spring". Its serene adagio presentations are in the countryside, violent presto developments are in foreign lands (England, Spain to Belgium, where the director lived), and dramatic and timeless recapitulations return to the Mexican countryside, always revolving around that vague main character Ministry theme - Desire to emerge from family life after the rain. The theme of the sub-department always develops and deforms in extremely uncomfortable accidents. One is the birthday party of the grandmother after the two children become teenagers. Huge, intense images of mothers entering porn clubs, and then a rugby confrontation in the dirt of England.
The Mexican director thought it was all his "feelings, memories, dreams, everything I hoped and feared and the truth of my real life". Regarding the extremely experimental expression method, he also frankly admitted that it "is like an expressionist painting, not only a copy of reality, but a hope to express his own perception from it." Thus, the subject becomes a companion in the transformation. A spring dream of Chunyu, and at the end of almost waking up, a plot line about friendship, betrayal, manslaughter, and redemption is actually organized.
The torrential rain finally poured, and the Atonement barked in the paddy field, tore off his head, and fell in a pool of blood. Bumble bees flying, buffalo sipping, a timeless rural expressionist painting.
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