finger counts, the work process is about to enter the two-year mark. Looking back on the first year after graduation, I can actually use the name of learning to wander through movies and film reviews for a whole year. and in-game. Almost every night, I haven't eaten a single breakfast, no matter how long my hair is, I don't bother to cut it. In winter, I can go out to buy food with just a coat. I have more than 300 degrees of myopia, but I never wear glasses. Seeing something clearly, whether to stare at him or complain, he just doesn't want to see clearly the unpredictable expressions of others. Their happiness, sadness, and confusion have nothing to do with me. All my emotions are anchored in my own world. I only walked in the familiar enclosure, and the rest of the area was completely cut off by the hot and hot lava. This is the island where I live, cold and warm, empty and full. There is no repentance, and there is not much pride. Maybe one day in the future, I will go back, if there is a chance. It is precisely because of such a wonderful time that I watched "Outside the Pine Forest" directed by Derek Sianfrance, and it felt like a theme - "Island", and through a three-paragraph narrative, an adjective was added. "Reincarnation".
Most of Derek Sianfrance's works are abusive, often touching people's scars. After being gently stroked, they are then savagely uncovered, which is so painful that people can't bear to look directly at them. The previous "Blue Valentine" was hailed as a desperate version of "500 Days with Summer" (favorite movie), pulling the mortal enemies of love and marriage to the center of the square and letting them duel in full view . The former is able to risk everything and sacrifice himself for justice, but the latter is the rational product of the former's madness, and its ending is self-evident. Sianfrance is similar to Lou Ye, the camera is realistic, does not lie, and exposes everything that can be revealed. , whether it is accepted or not, the final answer will be given. The narrative intensity of "Outside the Pine Forest" is much higher than that of "Blue Valentine's Day", and there are almost no exaggerated elements of literature and art. Even in the first paragraph of the story, the male protagonist is Ryan Gosling, and he didn't play any pretense. He was still fierce, fierce, and violent. In the racing paragraphs, the mirrors were very bold, almost from a first-person perspective. Smoking, having sex, robbing banks, back and forth, restless, messy arrangement, unable to find the rhythm, vaguely as if the script had not been written before shooting. In the film, Niu Jiuniu uses "robbing a bank" as an outlet for his emotions, so that he runs too fast and hits a dead end in the blink of an eye. The intensity of the next two stories dropped significantly and the rhythm slowed down. It was all about inner struggle to accomplish the goal of realism. The inheritance and reincarnation of redemption and destiny are very bright here, even to the point of far-fetched and deliberate. Sianfrance wanted to express a feeling of anxiety, helplessness, and powerlessness that no one could understand, but this time, he really went a little far.
The title of "Outside the Pine Forest" is peculiar and profound. Regardless of what's outside the pine forest for the time being, let's see who's inside the pine forest first, by the way, it's Robin. He is an island that connects the inside and outside of the pine forest. A little further, he connected Luke and Jason together, and completed their respective transitions and transformations. At the end, Jason even rode a motorcycle. Is this a repeat of his father's business. The director is not so inhumane. Since he chose to forgive at the last moment in the pine forest, the real symbolic meaning of motorcycles is actually the entity of fatherly love. It is no longer just a means of transportation, but a kind of sad fatherly love, touch it, control it, as if the distance from the deceased father is getting closer and closer, the attitude of life is bound to be positive. Due to the relationship between blood and life and death, these two isolated islands have no substantial connection in time and space. It can be seen that there are lonely ghosts wandering around inside and outside the pine forest.
Let's take a look at the islands outside the pine forest: one is Jason's biological mother, and the other is Jason's stepfather. To be honest, the portrayal of these two characters, especially the stepfather, was handled very weakly. Personally, I feel that these two points are the most important for shaping Jason's image, and nothing can affect a child's growth more than parents. Just looking at how friendly and generous they are, it's hard to make Jason become a bad boy just because of the lust of losing his father when he was young. I'm afraid it would be cruel to use "fatalism" as an explanation. On the other side, Avery and AJ, these are two islands of father and son. The fun of "redemption" is relatively monotonous and cliché, and AJ's growth portrayal is not kind, so I still have to come up with a result and let the audience abruptly. To swallow and digest, and tell three stories in 140 minutes, isn’t it too much for Sianfrance, who is very good at delicate tracing?
"Beyond the Pine Forest" is a good-looking movie, but once the details are scrutinized, the only way to justify it is to use philosophical arguments. The combination of art and narrative makes the film more popular. In despair and hope, intertwined and parallel, people are both connected and blocked. The deformed picture reflects the true living state of people in the real society: after all the brilliance, noise and emotion have faded away, everyone is actually a island.
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