The ultimate goal of a good metaphorical film work (most such films abroad are created in a special historical period with a strict film censorship mechanism) is to let the censors not bring the storyline into reality to find creation At the same time, it is necessary for the audience to truly understand and understand the meaning of the most critical parts of the film.
Why is this film full of dreaminess? Most of the time it tells the story of Anna's obsession with a fictional ghost, just to "hypnotize" the censors, making them think that this is just a dream and has nothing to do with reality. This is also a way for creators to protect themselves in the face of film censorship - I'm just filming a child's dream, and I haven't filmed anything real. Insinuating a dictator, what can you do to me?
Of course, the director obviously knew that the film not only "hypnotized" the censors, but also "hypnotized" the audience, so he specially arranged an exquisite "wake-up" scene in 2/3: after Little Anna left the stone house, the camera did not There is no scene transition and no reason for the movement. It switches directly to a sound of gunshots, and the director himself knows that a single sound may not wake up the audience who have already fallen asleep. Say - you wake me up quickly, the most critical place begins! Dreams are turning into reality! So the next scene: the soldier is shot mercilessly, and the police (a metaphor for the dictator or his lackey) look at his body indifferently (this should be the only scene where the police appear in the whole film as I recall). This part is actually what the director really wanted to express and is the most dangerous part of the whole film at the same time - the cruelty of the military dictator whose hands are covered with the blood of the people is fully revealed. The film also entered a short-lived state of reality from that piece of gunfire, very short-lived, but enough to express the director's creative views.
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