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In 2003, the Berlin Film Festival was full of famous artists and good films. Soderbergh, Spike Lee, and Chabrol brought their new films "Boiled Wine and the Sword" respectively; The script] and so on are also full of praise. So, when the chairman of the jury, Atom Igoyan, finally announced that the Golden Bear belongs to [Between the Worlds], it caused a burst of surprise in the audience. No one would have imagined that an obscure, low-budget film could pick out so many rivals. The Forgotten People of God According to a report, the number of forcibly displaced people worldwide in 2013 has reached as high as 45.2 million, of which one-third are refugees, and children under the age of 18 account for 46% of the total refugee population. , and one in four refugees is an Afghan. This year, the number of displaced people worldwide has reached 51.2 million, the highest since World War II, and this number is still growing at an alarming rate: the crisis in Syria, the conflict in Ukraine, the Ebola virus... The flames of a global problem. Afghanistan, which has been suffering from war and civil strife for decades, has been the country with the largest number of refugees in the world from a long time ago. Correspondingly, Pakistan, which is adjacent to Afghanistan and has the same origin in history, has It is the country with the largest number of refugees in the world. Every now and then, Afghan refugees cross the border into Pakistan, as do the fathers of Jamal and his cousin Inant in the film. In 1979, the first batch of refugees came here to escape the invasion of the Soviet Union (caused by the Soviet-Afghan war). At the beginning of the film, it shows the interior of the refugee camp in Peshawar, a border city in Pakistan. There are more than 50,000 refugees living here. The conditions are extremely difficult. The children who come and go stare at the screen innocently and curiously. They are very close to the sinister world. Very far. Many people use Winterbottom's film to criticize a series of military actions taken by the US military against Afghanistan. Some people also think that the performance of the Berlin Film Festival's award of the Golden Bear Award is a naked sending of troops to the US government. Protests in Iraq (the March 2003 US-UK military attack on Iraq). In fact, the preparatory work for the film started before the "9.11 Incident" happened. In August 2001, Winterbottom approached screenwriter Tony Gleasony with the filming plan, and co-created this story about "refugees fleeing to Europe", although Winterbottom had Another movie about the suicide of a rock band frontman is in the works prepared ([24-hour carnival party]), but he clearly prefers the compassion of the world [between the world]. The original inspiration for the film came from the "Dover Massacre" in 2000 and the growing xenophobia among Europeans, which Winterbottom hoped to embody in a "real" smuggling trip. So, in order to accurately grasp the details of the whole story, Winterbottom and Gleasony experienced a "smuggling trip" themselves, following the route taken by Jamal in the film from Peshawar to London. They spend most of their time in the carriage of a truck, although they take taxis as a last resort. They have been treated as "guests" and have shared their frustrations with stowaways who have "survived thousands of kilometers only to be caught near the finish line". It can be said that this film is composed of real records and fictional descriptions. The stories that happened to the two characters in the film are all from the real experience and knowledge of the director. It's just that the sudden "9.11 Incident" amplifies the practical significance of this story, but at the same time it also strengthens Winterbottom's belief in making the movie. Grounded Journey is different from most people in the world. Those children who are born in refugee camps grow up in a place without a "home", and this "home", whether spiritually or materially speaking, is very important to them. All are blank. If ordinary people encounter difficulties when they go out, they can return to the warm home that has always opened their doors for them in the distance, and they can reorganize and set off again, then these refugees who set off to "heaven" are undoubtedly carrying a A non-returnable one-way ticket. Behind the Golden Bear, Winterbottom sighed with a solemn expression: "This award should belong to the 1 million refugees living in the Peshawar area, I hope those who are still facing a dilemma - continue to endure the pain, or risk their lives. Those who have fled can create a new life." It is conceivable that "survival or destruction?" is the question that these refugees think about every day. As in the film, teenager Jamal and his cousin decide to embark on a thorny road to London. They set out from Peshawar, sat in all kinds of cars, lived in shabby brick houses, they impersonated Iranians and mixed into Tehran, and then went over the mountains to Turkey. On the way, the brothers met a couple, and they were looking for a place to live with their baby in their arms, so Jamal and Inant had companionship along the way. Istanbul then became their temporary base, earning a living by helping in factories. One day after that, they were informed that it was time for this "intermission" and it was time Continue on your way. The dark shipping containers are loaded with these eager stowaways. After a long sea voyage, the poor creatures who stayed in the airtight confined space for 40 hours left the world so easily, only Jamal and the infant survived. Arriving in Italy, Jamal made a living selling trinkets. He stole a wallet to buy a ticket to Paris, and crossed the English Channel on the bottom of a container truck. This cruel journey also came to an end. Perhaps even more cruel is that Jamal, who is already standing on the land of London, will also learn how to pry open the masonry on the surface of this strange continent and bury the "seed" in the soil, so that he can grow a "tree representing his home" as he wishes. ". Looking back on this journey, Jamal is clearly more adaptable than Inant, he can speak English (which is why he was able to accompany Inant on the road), and in times of crisis (such as facing the border guards in Pakistan), He cleverly used Inant's Walkman to bribe the other party to avoid being detained, and the upright Inant still blamed Jamal afterwards. The difference in the two's personalities is a harbinger of their final fate. Imagine that even if Inant arrives in London, he is not adaptable. How will it be able to settle down in a more complex society? The tragic character of the character is like the depressing and desolate female voice in the background, singing so mournfully, like a cry from hell. The movie has had two names. During the filming, in order to conceal the secret passages and smugglers involved during the filming, the crew claimed to officials of many countries that this was a film about the "Silk Road". Later, the film was renamed "M1187511", a string of numbers from Jamal's refugee status application document number submitted to the UK Home Office. However, in the post-production process, the film's title was determined to be "In This World" (In This World), which comes from the line Jamal says when he calls back to the camp at the end of the film: "Inant is 'out of this world.'" Light and Dark Winterbottom is a follower of the German New Cinema movement However, he especially admired Fassbender's work, and he, like Fassbender, was keen to pay attention to the tragic fate of the little people. From [Butterfly Kiss] to [Welcome to Sarajevo], and then to [Into the World], Winterbottom broke down one door after another, allowing the audience to experience the collapse and despair of the people in the play up close. The actors in this film are all non-professional, and can even be said to be acting in their true colors. For example, Jamal, who plays the protagonist, is an Afghan refugee. The director chose him from thousands of people, and the other protagonist, Inantura himself He's a market hawker, and because he looks like a "good guy," the director picked him to play Jamal's straight-up cousin. The protagonist is already like this, let alone the supporting role, the policeman who arrested the brothers in the car and escorted them back to Pakistan is a policeman himself, and the scene was like what he did every day. Authenticity is Winterbottom's top priority, so he shuns all theatrical elements and deliberate lines. The film has no established lines, no dialogue is designed, the director just gives a situation, all the dialogue and performance are from the actors' on-the-spot performance, including Jamal's not very funny jokes. It is the combination and application of these pseudo-documentary techniques, which perfectly matches the reality of the film itself, that makes the film powerful and not contrived, which is exactly what many poor pseudo-documentaries discarded from the very beginning. In different shooting areas, the director used different tones. During the journey in Asia, the picture is full of dim light, with the panic of crossing the border, but in Europe, the color is bright like freshly washed white Shirt, for Jamal, he really experienced two completely different worlds, and even the sun he faced every day seemed to be from a different universe. We followed the protagonist, and came to camps one by one in the frame-dropping pictures and the bumpy and swaying shots. In the passage over the snow-capped mountains, the director used black and white tones, which made the film feel dead. People walking on this road put their lives on their waists, and continue on the road with a little gratitude and loss every morning when they wake up, as if the paradise in the Koran is calling them. There is a scene of Muslim slaughtering cows in the movie. The cows are sacrificed to Allah. The cows with their limbs bound are powerless to resist the fate of being slaughtered. Just like the simple and honest Inant, it seems that he is born with sacrifice. The fate, even death, died quietly. Even if the film is wrapped in depression and despair However, that scene of playing football on the beach still adds a touch of warmth to the film. Jamal, who has experienced hardships, looks at the boundless sea on the seaside of Sangat, his eyes stay on the slow-moving cruise ship, and on the opposite side of the sea is the golden dreamland he is about to arrive at - where the sun will never set . Published in the September 2014 issue of "Watching Movies Midnight"
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