Undoubtedly, "The Beloved" is extremely entertaining, but it is still very "Lance Moss". The movie goes back in time to Britain in the 18th century. The story is taken from a real event between the Duchess Sarah Churchill and Queen Anne. What's peculiar is that, unlike most orthodox British court dramas, the primitive etiquette and political laws of the upper class have been reduced to the margins, and the movie is replaced by the strange and absurd love triangle under the power system structure. Absurdity is Lance Moss' first consideration in constructing the character's survival system. Sartre wrote in "Nausea": "There is enough." Lance Moss uses a large number of wide-angle lenses, fisheye lenses, and low-angle upside-down shots to create a grotesque, alienated atmosphere, thereby staying in a semi-closed state. To create endless distorted space, to put it bluntly, is an attempt to expose the "living" through the surplus of "existence" in vain. Abigail's constant falls, Queen Anne's constant emotional riots, and the abnormal games in the court all told the absurdity and boringness of "existence".
The last time Lance Moss "Death of the Sacred Deer" directly developed the absurd theme of existence to the extreme, so that it was put on the hat of "overhead story". In "Death of the Sacred Deer", Steven's family fell into strange diseases one after another, and the way to solve it was to kill one of them. Such a setting faces a logical gap, but it fits with Lansmos's "view of existence". Existence itself lacks logic. It is a split system, independent of the "intrinsic self" and free from the world. Precisely, the loneliness exuded in Beloved is the footnote of the separation of the two systems of "existence" and "intrinsic self", even if it expresses the incompatibility of the two: loneliness has become an abstract concept. Attaching to the "self" cannot be eliminated by the existence of "existence". Existence itself is not controlled by the will, it is in a state of fading change, connecting the present and the past; the id is static, placed in an overhead state, and is often attacked by emptiness in the turbulent confrontation with existence, because it is difficult to grasp all the appearances in the world. (Existing), the latter came and left. I think this is the cornerstone of the Lansmos movie.
The film revolves around the closed power struggle group composed of Queen Anne, the Duchess of Marlborough, and Abigail. On the surface, it is talking about the triangulation. In fact, it is not only insinuating the fragility of the state of existence, but also praising its absurdity. Queen Anne holds great power, but she can't escape her weakness: her dependence on Sarah. Her love for Sarah is vigorous and extreme, even at the expense of "transfer of power" in exchange for Sarah's control. But such people are often miserable, because love is not free, and Sarah's love for Queen Anne is extremely unreliable. Power has become the conversion condition of love. Even if the queen is willful, but in essence, it coincides with Sartre's "This kind of freedom is a bit like death". No matter how strong the love is, the individual's survival is still bloated, decayed, and parting. Fettered. When too many people habitually use "love" to point out the so-called "way out" for survival, Lans Moss held high the banner of existentialism, let the individual return to existence itself, and pointed out the fighting style of survival in the face of trapped beasts. State, the search for salvation itself is futile. He is tirelessly giving meaningless actions and language new meanings, and imposing his personal will on vain existences, in order to explore unique ways of survival.
Using the deep meaning of self-will can be understood as "resistance." Obviously Lansmos inherited Camus's ideas. When Abigail appeared, it exacerbated the sense of imbalance and heaviness of existence, and made this battle against loneliness and illusion more intense. This ruthless character was given a tragic fate from the beginning. It was only after Abigail declared his sovereignty through a precise burst in the shooting confrontation with Sarah, we only smelled Abigail's cruelty. . This kind of viciousness is given the meaning of resistance by Lansmos: a woman who attempts to break through her own tragedy has the resilience of life itself. Abigail approached Annie and took the position, but Annie mistakenly thought that she had encountered the true love, and took this honor to demonstrate to Sarah. When Sarah, who was exiled, stood in front of the window, she saw decades of collapse. On the other side, the images of Rabbit, Abigail, and Princess Anne continued to overlap, with a sense of horror and immersion, suggesting that existence is a tragedy. This ultimate proposition, Abigail looks like a victor, an uninvited guest who succeeded in trickery, but in reality he will always fall into Queen Anne’s deformed lust and cannot stand up; as for Anne, this poor and sad queen finally gets It's just a bunch of happy bubbles.
All the shots perfectly matched Camus's "In the middle of winter, I finally know that I have an invincible summer". When you realize that you cannot change your life through behavior, it is the moment when the "self" becomes the "outlier" of life.
This sense of powerlessness is strengthened by another special design in "Beloved". In Lance Moss' previous works, the characters almost always live indifferently in a "Mersault" state, living inside the wall and passively accepting the adventures outside the wall. The characters in "Beloved" do not use the negative posture of "alive" to fight against existence, but use as a form to pursue power and love. They are not like David in "Lobster" and the little daughter in "Dogfang". Forced to be in a distorted survival system, on the contrary, these three people are the creators of the survival system. Furthermore, these three people created the illusion of existence with their own power. Milan Kundera once defined happiness as the desire for repetition. Repetition is an illusion of existence. The years experienced with Sarah gave Queen Anne the false illusion that it was true happiness. In the end, the long journey on the journey of "love" accelerated the collapse of happiness.
Insert a sentence: To say whether the countess really loved Anne, I am inclined to have it to some extent. Decades of company, habit of becoming love is the trend of human nature, for Anne's good, the countess will also prevent her from eating desserts (and Abigail is basically indulging Anne). Of course, this kind of love has nothing to do with the spark of love, and in essence her "love" for Anne is misplaced with Anne's love for her. The former kind of love is more inclined to the satisfaction of the desire for power and the care of charity under saturation. Anne It is indeed sympathetic, and you will even feel heartbroken for her, because from a certain perspective, she is the purest, only she is struggling in the ruins of love, she does not care about power at all, power is a way, and Not the end.
So what is existence? Lansmos sneered at such discussions. For him, openness is the truth of individual existence. Rather than searching, it is better to give meaning to life in a chaos. Whether it is love or sadness, or has nothing to do with emotions, existence is nothing but a floating mass of matter. The point is not what it is, but whether it can be "what". The essence of Lance Moss is: we all need to face the superficiality of existence.
Lance Moss ended with a sentimental ending to the two-hour absurd game of existence. In this rally of love and power, the favourite is like a spell, and no one can do it.
ps This is probably the most boring film review I have ever written
Interesting people never need to be over-interpreted
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