Darren Aronofsky is very keen to set up extreme and dramatic contradictions for the roles of special occupations, which is similar to the story of the Polish film master Kieslowski, but Darren is characterized by his The contradictions faced by the people described are almost never resolved. In addition, another strong personal mark is that in the face of specific and subtle contradictions, Darren always wants the audience to truly witness the character's inner world, lead the audience to that other world, and come on a spectacle journey. The journey is not about causal logic, but about existence, so it can be said that Darren's films are very surreal.
Darren Aronofsky is a pure tragic writer (so far, not a master), and I hardly see comedy in his films. From the mathematician who fell into madness for a mathematical symbol and drilled his brain in "Death Code", to the four little people who crashed into the quagmire of life for their respective visions in "Requiem for Dreams", and then to this "Cherish" In The Fountainhead and the Wrestlers and Black Swans that follow, the characters all end with death, which also provides a glimpse into Darren's view of personal destiny - a fanatical pursuit of an absolute tragic fate.
In my opinion, this type of film is precisely what the domestic film market is extremely poor at present - the vast landscape, various characters and stories, and the sharp contradictions engulfed in the social transformation period. Deep fantasy thinking! For a long time, I have also been enthusiastic to see and even create by myself (unfortunately I have no money, the precious thing is that I am still young) the violent emotions of the little people who are in extreme and unresolvable contradictions, the same extreme choices, the kind of A truly visual film with a mystic, spectacle, surreal character!
The reason why modern domestic films are increasingly unable to go abroad is that the creators still block themselves in imitating the reality at the end of the last century, and the untouched life, of course, has its own rationality, but I think that in the real world Chinese films, where the dogma of sexuality and realism lingered, can hardly be called art.
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