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Probably the most interesting thing about last month was the discovery of gravitational waves by astrophysicists. Sure enough, behind the unknowable, it is also read as God or the grace of God.
The Super New Testament is exactly about the grace of God. Although it was not shortlisted for the final top five list of the best foreign language film at the Oscars, the reputation of the film was beyond many people's expectations. It may be the funniest, lightest and most touching one of the bunch. I even think it's "prettier" than Son of Saul, definitely the kind of film I'd love to watch a few more times or relive its passages. In the name of God, the Super New Testament does not delve into the issues of religious belief and human conflict like Bergman or Tarkovsky. It made fun of the omnipotent God, portraying him as a middle-aged uncle exuding male power and patriarchal authority, sloppy, rough, and bad taste. Yelling at his wife, hitting his daughter, a villain. I don't want to discuss the subject of God. As in the end, the movie just replaced the nightgown God with the pink God, not the soup but the medicine. God and the New Testament are just jokes, like a new version of an old story. What impresses me about "Super New Testament" is the fascination with Kubrick's axe and the matrix of the Matrix, as well as the dazzling photography experiment. The most immediate hit is the pure heart of Jacques van Dommel. There are not many film directors who can have a pure heart, such as Sylvia Jomai in France, Wes Anderson and Richard Linkleck in the United States, and Hirokazu Koreeda in Japan.
The so-called innocence is by no means just making a fuss about the resistance and choice of children. Jacques van Dommel would capture life's moving moments like a romantic poet. A handful of golden pearls fell on the marble steps. The heartbeat of an ordinary person is like an unknown classical movement. A youthful and glamorous body has become the lifelong heart knot of a middle-aged man. More than one friend said that seeing Handel's dance of hands, the walking dead at work, the reminiscence of a sex madman's youth, the killer's embrace of himself...everywhere almost burst into tears, and the little freshness was soft and numb.
One of the settings that fascinates me the most about the movie is that the doomsday time of each life is revealed. Jobs, who was worshipped as a god by fruit powder, said that if you live every day as the last day of your life, then one day, you will find that you are right. This sounds...a bit like high-end chicken soup. I like the Japanese writer Isaka Kotaro, he said in "The Fool of Doomsday": If you die tomorrow, will you change your life now? So how old do you plan to live in your current life? The six Gospels are all born out of this setting. The pain and troubles of enslaving and torturing human beings are mostly rooted in childhood growth and family misfortune. In the future, frustration, loss, failure, loss of soul, and just getting by will not inspire the deep desire and pursuit, let alone a higher ideal of life. Jacques van Dommel was deeply obsessed with this life theme. From "Little Hero Toto" to "No Name", the stones thrown into the pool as a child produced never-ending ripples of life and invisible waves.
If couples who quarrel endlessly, if they know the date of each other's death, will they continue to quarrel with each other until he dies? Most of the unhappy people can really just leave and enjoy themselves in time. "Super New Testament" uses the impossible to write the possible, and uses the movie to play with life. Compared with human evolution and the beginning and end of the universe, these three to five days and decades are indeed on the verge of dying. Even as a sardonic comedy, the movie is easy to read as an underdog's heartbeat. It's easier said than done to live one more day to feel the gratitude earned. What the Super New Testament does is preach the gospel. As the audience, we are the faithful believers of the film. In Bai Fumei's passage of Catherine Deneuve, "Super New Testament" shows a bright and beautiful family life and marital emotions. It also has defects and regrets, and even collapses faster than ordinary families. This is equivalent to saying that from birth to death, everyone is an incomplete and lonely moving being, sealed in glass, locked in file bags, imprisoned in luxury villas. But everyone still has a mysterious connection to the world around them. In the last gospel, Dormer also got politically correct, allowing the boy in red to escape his natural sex body. From art films to porn to small freshness, this film has everything, like a necklace of life made of pearls, shells and agate. It's not a perfect classic, but it's a moving piece.
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