The film begins in flashbacks, in the violent 1970s Northern Ireland town where "father and brother are killed in the street...we all feel like we need to do something". Alistair, a 17-year-old boy who joined a terrorist organization, shot and killed another young man in the town on the street in order to gain the "affirmation" of others and a sense of honor. When he started, the youth's younger brother, Joe, watched in horror. Thirty-three years later, a TV station wanted to produce a program, so they found Alistair and Joe and asked them to meet and talk about their feelings.
Here, the director proposes the first two themes of the entire movie in the plot. One is the violent cycle of revenge, and the other is the possibility of forgiveness. Joe took the knife to the shooting scene, ready to take revenge. He hides the knife in his pants in front of the mirror in the room on the second floor, which corresponds to the way Alistair hides the gun in the flashback before going out to kill. At this time, Alistair was downstairs filming the interview for the camera. He dissected the stupidity of his youth and hoped that the world would stop that stupidity. He said in front of the camera, in order to "proudly walk into the bar, Everyone got up and clapped their hands and said yes, I'd shoot anyone... What society should do is stop people from indulging in the purpose of the organization they're a part of. Once you believe in that purpose, it's too late. No one can stop you, Change your mind." He expected Joe's forgiveness, and offered his attitude: "Be honest."
The two parties upstairs and downstairs in the shooting scene, one trembling hands and feet ready for revenge, the other wants to resolve the hatred quietly. Although there is no meeting, the emotional opposition has already stood on the screen. The director interrupts the progress of the plot here. Joe was filming the scene of going downstairs for the first time, so he went back to his room to prepare for the second shot. At this time, he listened to a little girl who was working on the show talking about the living condition of Alistair, living alone in Bell. Fast's small apartment, the apartment is deserted, Alistair is alone and unhappy, haunted by past crimes, he just survives and has no "life". Joe's initial hatred for murder and revenge changed at this time, and he began to hesitate to kill Alistair on the set. Actor James Nesbitt's subtle shift here is well-acted, smoking, absent-minded, and speaking in a different tone of resentment. Finally, he escaped from the set for the second shot.
After that, the director arranged the final solution of the matter to the murder scene 33 years ago - Joe's childhood home. Alistair returned to the old town and asked someone to lead a message to find Joe. His wife tried to dissuade him. He knocked her over to the ground, and the two daughters screamed in horror. Joe went out, this time with a knife. In the house where his brother died, Joe wanted to assassinate Alistair, but he couldn't beat him, but he must pour out all the hatred, so the two fought fiercely, and they fell out of the second-floor window together.
At this time, the picture suddenly became an empty shot, but it was not cut. The camera began to slowly move forward, pushed out the window, looked down, and the two fell to the ground. This is an interesting design. The energy created by the fierce fight just condensed into the quiet shot for a moment, and the energy did not disappear or be discouraged, so that the conversation between the two who woke up next still had enough emotional strength.
This method is to make people forget how the story unfolds and focus on the emotional and mental state of the characters. Oliver Hirschbiegel, the director who has filmed "Deadly Visit" and "The Destruction of an Empire", actually deliberately "ignored" the story everywhere in "Five Minutes in Paradise". The potential of this story is to create extremely violent conflicts and create a sense of historical leap. , creating a plot twist. But all the techniques of this film focus on the difficult state of two people who have to face the past, choose revenge or choose forgiveness. And let the audience gradually enter the tangled heart of the two characters in the neurotic performance caused by this state, and think together with them.
The second floor is not high, and the two people who fell down woke up. At this time, they finally had to face the third theme of the film, which is the concept that the director wants the audience to believe: forget the inner entanglement behind hatred, forgive others, and make yourself Get a new life. Alistair endured the pain, and told Joe about the process of killing his brother at the time when the "angry youth" killed his brother, and then told him: "Forget me, so when you wake up in the morning, it is not my face that comes into your mind, It's the faces of your daughters, don't bring me into their lives." Liam Neeson, who played Mr. Schindler's seemingly deadpan and painful narration, is wonderful.
Joe said nothing, lit his cigarette tremblingly, and walked away. He healed his fall and sat at home watching a movie with his wife and daughter. His daughter suddenly turned her head and smiled at him. He smiled for the first time in the movie, even though he was terribly stiff. Then he participated in a group talk promoting psychotherapy, rambled some off-topic words, and finally got to the point: "I hope, my daughter, has a proud father." He finally understands in the final moments of the film" Newborn" meaning. Although the arrival of this new born is so hard, after all, after his dear brother was killed, he faced the mother who accused him of not protecting his brother, the sad father, and the ruined family for 33 years. The pustules of hatred formed by the pain of these 33 years have lingered in his heart for too long. However, the "new life" is powerful enough to sweep away the pain. A derivative of "new birth" is forgiveness.
Joe then called Aristel: "We're both settled." Alistair finally got rid of Fudan, who had been in Fudan for more than 30 years, and was happily absent-minded in the middle of the road.
Hate grows in our lives every day, and director Oliver Hirschbiegel hopes Five Minutes in Heaven will provide a way to discuss and resolve the issue. He focuses on the emotions of the characters and does not express himself through the twists and turns of the story. This method makes the film not deliberately heavy, and the point of view is also very in-depth, which is quite evocative.
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