The film beat the hit "The Other Side of Hope" to win the Golden Bear at this year's Berlin Film Festival, which also made Mr. Aki Kaurismaki very unhappy, and it is estimated that this will also become a good story in film history. If you compare "Flesh and Spirit" with "The Other Side of Hope", in addition to the director's reputation, the latter is higher than the former, and "The Other Side of Hope" is closely related to the current hot European refugee theme. Coupled with the Berlin Film Festival's emphasis on the film's political and social attributes, all these factors have determined that "The Other Side of Hope" is more golden bear. However, if we put the film in the dimension of the director and make a vertical comparison, from "The Other Side of Hope" we see the same Kaorismaki. In his own work list, "The Other Side of Hope" "One Side" can only be regarded as medium. Most of his iconic characters' stiff expressions and unexpected warmth are shown in this film; but through "Flesh and Spirit", it is a different Yinye. tee. Does it mean that the change in the director's style is worthy of the recognition of the award? The answer is of course not. The key is to look at the unity of the film's form and content, as well as the innovation of film grammar. Compared with the "Little Fresh" "Flesh and Spirit", the visual contrast of the content and the incompatibility of the picture with the traditional impression make the film. It presents a different texture, because the output style and form of the picture are not fixed, and any innovation in form and structure is worthy of praise and affirmation. Somewhat ironically, "Flesh and Spirit" is instead Kaurismaki-style in form and core, or more precisely, the film is more like a mix of Kaurismaki and Fassbender styles. The film opens with two deer roaming in the snowy woods, and there are many such scenes interspersed in the film. Of course, the theft of mating powder in the slaughterhouse later made the audience understand the meaning of these deer pictures. Inyeti did not pretend to be mysterious and did not explain the relationship between the two in the artistic treatment of the common dream of the hero and heroine, but she chose to tell the audience in such a straightforward way that this approach is very risky, because usually metaphors and symbols It is more in line with the temperament of literary films, and it will also be more in line with the tastes of judges and film critics. In fact, thanks to the director's very clear explanation of the connection between the deer and the hero and heroine, otherwise such a very abrupt metaphorical picture would be a failure (Reggadas' "The Willows and Flowers" is the opposite of this). Left-handed Ender, the slaughterhouse chief financial officer, and the silent and gregarious quality inspector Maria met for the first time, and it was Ender who was upstairs scanning the building from a "rear window"-esque peep view. Down, Part of his face is hidden in the window lattice, and Maria is standing in the shadow next to the pillar downstairs. The camera first shows Maria's feet, and then a medium shot of her upper body as she strokes her hair back, and she bows her head. Noticing that her toes were partially exposed to the sun, she shifted her feet cautiously and looked up at Ender's office. In the lower right corner of the screen were three chatty employees, and in the upper left corner was Ender down. At the back of the visit, the three groups of figures form an obtuse triangle with almost a straight line that is somewhat unbalanced. The shape and color matching of the building make this picture perfect, and there is a glimmer of hope in the obscurity and depression. After the slaughterhouse workers slaughtered the cows and cut off the heads, the blood spurting out of the blood vessels on the heads of the cows was very eye-catching. Not as good as "Meth", but this is also due to the difference in what the director wants to express. In the back of the film, the heroine cuts her wrists and allows the blood to coo along her legs and stay under her feet. It is bright red and dazzling, but it looks cruel and beautiful. This bloody picture also echoes the blood-spraying bull's head in front, and the space between humans and animals Some kind of connection has been established in the dark, and of course this connection is also reflected in other places. There are personnel managers whose wives are sleeping with other men and stealing to mate with fans. There are also people who express their opinions about the seemingly cruel behavior of slaughtering cattle. It doesn't matter who is newly hired, in fact this connection has extended to human beings themselves. The director's shot makes good use of glass or other transparent objects, an important image symbol. With the change of emotion or mood before and after the film, the picture is also adjusted accordingly. Ender, who looks out from behind a window with a narrow screen space like a fence at the beginning; Maria, who is working woodenly, and her colleague behind the transparent curtain of the slaughterhouse; , and the glass reflects the lonely figure of Maria watching TV at night; the excited Maria's face is reflected on the window of the mobile phone store; The glass of the sideboard slowly moved with them, and the space between the audience and them was again intervened by the restaurant staff. The hearts of Ender and Maria are like being separated by glass. They can be seen, but they cannot be touched. They not only resist the characters in the image space, but also repel the audience in the space outside the painting. The mechanical and numbness of Ender's love, the incompetence of Maria's love. In the film, the picture of Maria grabbing mashed potatoes produces an indescribable erotic tension; there is also the scene of her ecstasy stroking the body of the bull, which attracted the onlookers and laughter of her colleagues, which is absurd and cruel; Touch yourself with a plush toy under the quilt When depicting her own body, the picture uses abnormal highlights instead of creating an ambiguous darkness in the general sense. This "abrupt" or "unreasonable" picture is more in line with a "special" character like Maria. The film did not explain the reason for Ender's arm disability, nor did it tell the audience why Maria was dying. The director put these two "crippled" characters directly in front of the audience, and what we saw was their state. , and we care about what happens next rather than why. Their dialogue was embarrassingly direct, and there was nothing romantic about their relationship, but there was a warmth when they both said they loved each other on the phone and rescued Maria from death. The power of it comforts two "crippled" hearts.
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