First of all, I am reluctant to look at this film from the perspective of purely political metaphors. Such a film thesis will treat the entire film as a boring riddle, with beautiful mystery, the answer to the mystery, and nothing else left, which is almost perfect for this film. Saying it is an insult. I don't know much about the history of Spain, so I prefer to interpret it from the most direct feelings the film brings to me.
We have long been used to seeing children who appear in movies, but these children either appear as prop-style characters, or there is a reference to social reality hidden behind them. This film can easily be interpreted as this a situation. Either, children do act as real protagonists and don't imply anything other than themselves, but even then even the best children's films can't hide an unavoidable adult outside perspective, and hardly anyone Under such a premise, an artistic film with a strong authorship can be made.
Because this external perspective, whether it is the director's or the audience's, is far from the essence of the child. If we observe children in a retrospective way, we can only regard children as a preparatory stage before adults, so we can only rely on the observation of adults. And the most crucial characteristic of children is by no means this, but that they are completely new lives, that is, they do not have enough experience of living, they are almost zero. These experiences are essential for socialized people, but for them they are merely a spice to the visualization of the new world in which they live, uncontaminated by logic, In a chaotic state close to the unconscious, the unconscious is far more whole and sensitive than the conscious. From this aspect, human growth is the process of dragging people from heaven to earth, but this is not dragging them back, because people's hometown is not on earth, but in heaven.
As an adult to shoot children's films, what I capture is nothing more than children's imagination, liveliness and cuteness, truth, goodness and beauty, friendship... But no matter in terms of children's personal qualities, or focusing on the aspects of mutual interaction between children, they fail to understand the essence of children. make a real search. Behind the wild imagination, children have not yet formed a strong sense of reality (this reality is limited but not universal), and the construction of relationships with others is still only a kind of social learning, and this effort starts from the children themselves. Probably not necessary. The understanding of "I" is not complete, and the understanding of others can only be extended from "I", which makes children, especially introverted children, in a long-term loneliness. The reason this loneliness is sometimes difficult to observe is that the blurring of individual boundaries creates precisely a beneficial divergence, for both the black cat and the companions in the film. Rather than interpreting the act of pinching a cat as a kind of evil, it is better to say that it is just a curiosity that is neither good nor evil.
These qualities of children lead to an aspect of childhood that has always been ignored, and that is the horror of childhood. Once ignorance and powerlessness prevail, childhood is a very long disaster. And even with careful care, this insecurity will always pop up from time to time. It's something I've never seen in a movie other than Ghost of the Beehive. A deliberate or unintentional joke, or even the ubiquitous single yellow of the hive, can have a huge impact on a child's psyche. The state of isolation from parents, the quiet room filled with yellow, the sound of footsteps from upstairs, a character in a movie... If people can really understand things in a metaphorical way, it is by no means a logic like solving a puzzle All that can be achieved is that Anna, or every child, can really absorb everything around them as images or even just color blocks, because intuition is always the most wonderful and difficult way to grasp things.
So, Ghost of the Hive seems to me to be a movie that really starts from the inside of a child, which is enough to explain why the most appealing spiritual quality of the movie comes into existence. And if I interpret it from the perspective of political metaphors, I think we can start from the influence of politics on people, because this kind of subconscious or even unconscious influence is just the most suitable for children to express. But I would never think that political interpretation is more important than the interpretation of children (people), I would rather say that political life is only a special manifestation of the study of human relations, rather than say that childhood is a metaphor for politics. On the contrary, the disappearance of childhood means the wide spread of childhood in the boundless realm, as Beauvoir said: "What is an adult, a child inflated by age."
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