Only snow screens and beaches

Krystal 2022-03-16 08:01:01

Only the snow screen and the beach in Australia. Movie とはリズムだから. People は behavior に Binding ら れ る, life and は behavior の 総合だ. What is it? だ か ら ら は Movie の よ う な Breaking Action を fetch る の だ. こ れ を liberation no た め の act and も べ る だ ろ う. だ が こ の movie は ら に と っ て は liberation で は な い, part of the movie の one sad し い part. Challenging movie. Fish の し = mother's inner side の death. Constructing the inverse of でbreaking 壊の. He ら は 壣 壊 す る こと に よ っ て, self-construction of the whole personality す る. Modern people は reasons を っ てい る ふ り を す る よ り も results. People は い つ も の に に れ た も の ​​を 通 し て Story る. もし shows がdesire しいのなら, and construction で shows すればいい. (Explanation に Monogatari る Method and Unfolding の Monogatari は対立する) Explain は Monogatari を Rap で 䁫 す る. In an instant, life is enlightened. The life of self-discipline is happy. Original photo of オーストリアの広. Sand Hama and the sea and Okuyama がある. このimage は ら に と っ て uneasy で あ り な が ら at the same time に ま た peace and で も あ る. Ambiguous なもの. See the knowledge ら ぬ も の は い つ も people に uneasy を 掻 き て る. why. Can I miss the world? Currency を broken 壊 す る square が kiss が I が son を kill す よ り も は る か に シ ョ ッ ク が 大きい, society as a whole のタブーなんだ. The existence of the other is せ ず に self-discrimination and 戦 う.

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Extended Reading
  • Stella 2022-04-22 07:01:55

    Maybe one day I will despair too

  • Hollie 2022-03-16 09:01:09

    Horror film. Using positive and negative hits to cut off the connection between characters, block all emotions with close-ups of objects, and downgrade "people" to vassals of "objects", and the sound design extends the space outward, which aggravates the isolation and helplessness of "people". The state, a few seconds of shady curtains that suddenly lay above the flowing emotions cut off the thread of empathy. While inheriting Bresson, Haneke's lens has a kind of viscous "inertia", and the insensitivity of the character presentation also forms an intertextuality with it. The stacking of mechanically cold and meaningless bridges spreads the feeling of numbness and emptiness, and uses space/camera to erect high walls of the prison, so that the cathartic domination of "people" over "objects" turns into a struggle to question the innermost (Like a lens) has long been empty, the only close-up of the lens from "object" to "person" is actually the character's self-destruction. The fish needs the captivity of the fish tank, the people need the captivity of the objects, the image and the audience need the captivity of the camera, and in the last scene, the camera is high above and proclaims its dominance - through captivity, it directs a double destruction of the fish and the net. Haneke has insight into the essence of life, and also the essence of "shooting". 9.4

The Seventh Continent quotes

  • Anna Schober: Have you gone mad?

    Evi Schober: Have you gone mad? Why?

    Anna Schober: Why? How come you say you're blind? Are you mad?

    Evi Schober: I didn't.

    Anna Schober: You didn't? Your teacher made it up? Answer me.

    Evi Schober: I never said that.

    Anna Schober: Look at me. Come on, tell me, did you pretend to be blind? Come on, tell me. I just want to know the truth. Come on. Don't be afraid, I won't hurt you. Is it true? Did you pretend to be blind?

    Evi Schober: Yes.

    [Anna slaps Evi in the face]

  • Anna Schober: Did you like the Mickey your uncle Alex brought you? He loves you very much. You know that? Me too. Do you feel alone sometimes? Do you love dad and me?

    [Evi hugs her mother]

    Anna Schober: Okay, time to say your prayers.