The city is changing with each passing day, and some kind of new life that can be expected to be realized is happening wildly around you. What if you change a life that you can't imagine - what life? What's the difference from now? ——You lose contact with the people you know now, your freedom disappears instantly, space and time are controlled by others, do you still need forced labor, hardware or seven gold? There is no salary, a pack of cigarettes and a bottle of wine every Wednesday, is there a woman to accompany you? There happens to be one, a widow in her 30s, who will bathe you, but if you want to have sex, you have to let a group of strangers visit together. That's life. "Sand Girl" is about this story.
A hypocritical film critic will mention at the beginning of the article Hiroshi Kawahara's trilogy, Abe's novel, and Toru Takemitsu's music. I have read the articles reviewing "The Girl of the Sand", and it is basically this routine. Relying on these topics to pile up the number of words longer and boring than literary films, it seems that they are born with the mission of writing.
"Born to dig sand, or born to dig sand", this is the highest instruction of "Sand Girl", but those who write don't pay attention. After repeated deliberation, going back and reading it several times, without omitting a single sentence, you are actually the ones digging the sand.
It doesn't matter if "Sand Girl" is a wonderful movie, you have no reason to like a story that is very different from your life. But for me, the story quickly caught my eye. It climaxed almost without warning and ended without warning. You can write the plot clearly in 100 words, but you can't describe its jumping suspense in one sentence. I once hoped that the plot behind it could develop like a shocking theme.
After the biological male was pushed into the sand pit, he performed the resistance behaviors that everyone would appear in sequence: scolding the street, running away, being aggressive-he tied up the sand digging female male, he and all of us thought that this girl and that group The villagers belonged to a group, but looking at the woman's pitiful appearance, they had no choice but to go over to loosen them. She was tough and gentle. People were most human when there was nothing they could do. We can predict that this man's resistance will continue for 2 hours and 27 minutes, but we don't know what conspiracy is hidden behind this, is it a woman? Or someone else? Is it for money? Or deadly? For the answer to this question, "Sand Girl" reveals a faint unexpectedness, no big conspiracy, that is, the villagers want you to accompany her to grow old in the process of digging sand, and she lacks a man.
"Sand Girl" doesn't explain too much about the rationality of the story itself, because the desert society itself is fictional, and on the other hand, the sand digging woman's joy turns from sadness, and the biological man's from sadness to joy, which makes people even more Where is it willing to spend God's thinking, why is it so sad when she leaves the house with an ectopic pregnancy? Why do biological men choose to stay when they can escape? This is a psychology course in two directions. At the last moment, "Sand Girl" turns the legend and absurdity of the story to an abrupt but more profound and powerful level of thinking.
People's rejection of unfamiliar environments always takes homesickness as an excuse. The biological man never forgets Tokyo, the books opened in the office, the money in the pocket of his coat, he can remember all the details of "home", he was once convinced that his family and colleagues came to him, he had desperate ideas in order to escape, such as the bridge to catch crows Duan, his idea was an insult to the crow's IQ. In short, "home" became the driving force for his escape. The sand digger's home is at the bottom of the dune. She doesn't want to leave. She digs sand every day for fun. The biological man asks philosophically, "Born to dig sand, or to dig sand?" As a result, no one is a bird, and this moment is very invincible. Regardless of fate, people who love the basics of life do not feel pain. The sand digger doesn't like that life outside suddenly becomes understandable, and if you see this and feel her sadness, then you must be sadder than her.
"Home" must go back? The biological man didn't come back, we later learned that he was missing for 7 years and people can forget him. Did the sand digger go back after she got better? Not sure. Although "she and the biological man dug sand together in harmony" is an acceptable and rounded ending, Edict Kawara Hiroshi did not explain whether the sand digger was dead or alive; living or going back or accepting the Tokyo style new life. This concealment is natural, but it is also fatal. Why did the village doctor become the veterinarian's assistant when she was sick? Why should she be sent to the outside world for medical treatment by this story? This foreshadowing is ulterior motive.
"Home" is no longer a house, the old values, way of life, traditional thinking, social relations... can be abandoned for such simple reasons. "Sand Girl" was filmed in Japan's post-war period of rapid economic development. It is completely understandable that the contradictory relationship between tradition and innovation is emphasized.
Can this hint be used in today's China? The attachment to the past, the affection for the hometown, the care of the family, the old traditions, these things are being replaced by those more valuable topics. In a world that is changing day by day, people are afraid that they are still living then, and that they are still living the days before. Urbanization has desolate farmland, and migrant workers are crowded with trains. "Home" is just a psychological defense line that can be retreated when encountering difficulties. Those basic things are being ignored. Change is not only Obama's slogan, but also everyone's new word. People deeply realize that nothing lasts forever. In "Sand Girl", when people were relieved that the biological man could go back to the past, he stayed for a nonsense reason. Should you be happy or sad for him?
At the end of the article, it is officially recommended. "Sand Girl" is worth watching, the story is long but not slow, and the lines are simple and powerful. There is also a digression to mention casually, in the same shooting era, the same story of digging holes, Japan released "Sand Girl", and China released "Tunnel Warfare".
View more about Woman in the Dunes reviews
