In the days when myths still existed, people would pray for rain, worship animals, and reincarnation was also part of the world view. Those were the days when humans still believed in gods and worshipped religions. Today, relative to religion, art has inherited its aura, and in restoring human perception, great art often tries to rediscover the world. Uncle Boonmee, who can recall his previous life, has completed a primitive era image, and with the help of simple makeup and special effects, a world with myths, apes, ghosts, and parallel time and space is self-consistent. The juxtaposition of monks and TV sets, which is similar to installation art, and the unique time charm of the movie, in the wonder, people see their own avatars and talk to their son who is an ape. We are so fussing that we forget that there was another way that humanity was once possible.
In Chen Kaige's Biography of the Demon Cat, illusion, as a spell in the spiritual world, is irrational and does not follow the law of conservation of energy and mass. People can become cranes, tigers can become flowers, grafted on Li Bai's wanton poems, this is a romantic elegy in the Tang Dynasty. However, Chen Kaige's Legend of the Demon Cat could not do it, or he couldn't consciously expand it into a serious experiential image on the creator's part. For another creator, Bi Gan's roadside picnic and the last night on earth try to search for the protagonist's past in surreal images. Even if there is a play with time, the narrative maze also determines that the director is more dependent on the same script. The struggle of narrative information without the output of philosophical views. In the final analysis, both directors belong to the type of making the script empty. They try to form a self-contained world, but at the same time they believe that this world has nothing to do with the real reality. This is just a fabricated movie based on the images of reality, just belongs to them. ideal imagination. They did not try to use the movie experience to destroy the audience's existing cognition, but Uncle Boonmee, who could recall his previous life, completed the empathy on the juxtaposition of mystery and reality, and he presented some kind of exoticism with a sense of incomprehension. The world injects a kind of magic into the current reality, politics, gunfire, time travel, photography art, and the strangulation of animals and emotions by technological power. What Apichatpong is doing is bringing the experience of human history to the screen. He successfully merged ghosts and ghosts with cars, pop songs, and modern medical care, which allows us to re-look at the magical life around us with a new experience.
In Assassin Nie Yinniang, the paper figurine kills and Yinniang hangs on the beam. That is common in the oriental novels of the martial arts world, and it is also a concept of understanding the world in an oriental culture, but the assassin Nie Yinniang still pays attention to the individual life experience of human beings. Still a modern movie. Among the good people in the Three Gorges, Jia Zhangke's magicism, people walk a tightrope in the sky, the tower turns into a flying saucer and suddenly takes off and leaves. Jia is the Chinese director who has gone the furthest in using images to transform reality in the audience's mind. This is because Jia has never given up on the realistic images of China, but there are two things hindering him. One is the lyrical tradition, and the other is the symbolization without experience. Among the ancestors of the mountains and rivers and the children of the rivers and lakes, he did not continue the exploration among the good people of the Three Gorges. And he has been preparing a film that is worth looking forward to in the Qing Dynasty, a mixture of historical experience and contemporary, so that we can re-look at what is happening in China today.
Also worth looking forward to is Aliche Rohrwacher. The happy Lazaro can almost see the same thoughts as Uncle Boonmee, who can recall his past life. This is simply the common thinking of filmmakers on the problems of today's world, and through them we can see that we are breaking away from the narrative tradition. The power of cinema with formalism.
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