I watched "Burning" recently, and I also tried to interpret this Cannes top-scoring film from the perspective of audiovisual language. (don't like to spray lightly)
The whole movie is developed normally according to the timeline, and there are no flashbacks, interludes, and all the scenes can be roughly understood by the director through the sub-scene script.
Serious spoilers below, be careful. The shot I am talking about here is not a picture of a shot to the end, but can be regarded as a story scene. The story can be divided into sections with demarcation lines for easy browsing.
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Shot 1: Opening, truck + smoke, soundtrack, noise in the market (the film uses suspenseful methods, just to catch the topic and sway interest), the male protagonist turns around and follows the camera to the appearance of the female protagonist (dancer), explaining the occupation of the male and female protagonists , the heroine seems to be "interested" with the hero, and the first eye shot is given to the heroine.
Scene 2: The male protagonist goes out and waits for the lottery. The "winning" scene. It turns out that the female protagonist and the male protagonist are from the same town. Then the film has a clue object "women's watch", which is also an "emotional booster" for the male and female protagonists. ——>The male and female protagonists smoked and talked, and the female protagonists flirted with the male protagonist. The male protagonist was teased. There is one detail. The male protagonist spit into the ashtray cup, and the female protagonist also spit into the ashtray cup after seeing it. This is a strong confirmation. The two parties were not only fellow villagers, but also the bottom people of the same class, and then they asked for a drink.
Shot 3: The male and female protagonists talk, leading to the symbolic "pantomime" and the upcoming trip to Africa, as well as the core of the film "the hungry person" and "Great Hunger" (the English accent of Koreans is too bad), the female protagonist continues The male protagonist helps her take care of the cat. The male protagonist pays the money with a poor look in his eyes. When he turns back, he kisses the neighbor and sprinkles dog food. The female protagonist sleeps in seconds. Here, the male protagonist, under the pressure of reality, wants to love in his heart, and at the same time, his action language shows that this relationship may be "not smooth".
Shot 4: The bus (the director used a lot of shots at the beginning of the car in the film, I suspect the director has a conspiracy, it will be kept secret here), the heroine picks up the person, the hero is carrying his luggage back home and walks to the heroine's house, If the movie is regarded as a novel, the heroine's house and surrounding environment must be described. From the south window of the corridor, you can see many houses in the urban area. I suspect that the director found it from Haruki Murakami's novel. Scene restoration: There is such a situation in Murakami's novel "Norway". When the male protagonist of "Norway" lives outside the school, he can see many houses outside from the balcony, overlooking all kinds of life.
To the north is the house of the hostess, whose windows do not face the sun. The hostess called the cat, but the cat did not appear. The female protagonist talked about a symbol of sunlight that can be injected at a certain time, and the male and female protagonists had sex. I read on another film review on the Internet, from the situation of the sex, I can see that "When a person is alone for a long time, in order to vent his lust and masturbation, he will start an alarm clock illusion somewhere. Staying at home for a long time, watching masturbation somewhere, will also cause distraction when you really kiss Haimei, and Zhong Xiu's personality is easy to be distracted, the whole film Zhong Xiu gives people such a feeling "I personally think it's quite similar. The person who wrote this film review must be a woman, and men should have different opinions (people who understand it in seconds must have tried the distraction delay method). In the end, the male protagonist shot along the "sunshine", and the sunlight was really only once a day, or reflected from the mirror of the lighthouse (observation deck). At the same time, the ghostly soundtrack starts.
Scene 5: The male protagonist takes the bus to go home (starting the shot from the car again), raining, ghostly soundtrack, the male protagonist's hometown has dilapidated roads and a shabby house. Generally, people who haven't returned to their hometown for a long time must feel a lot of emotion after returning home, and there is no one at home. The gray rural environment also reflects the confused future of the male protagonist. Where is the Great Hunger in life?
Then, the living conditions in the house, the photo of my father, the messy sofa I slept on, the "sofa" appears many times in the film, and it is a clue object. The North Korean propaganda sound at night shows the life of the male protagonist at the border, and there is a metaphor "cow". In the end, the male protagonist still slept on the scruffy sofa, woken up by no one's phone, and went to the darkness outside.
There are many narrative shots in the back, the TV sound in the picture, the unemployment problem in South Korea, the male protagonist; the second time the male protagonist received an unmanned call, here he may suspect that the female protagonist is calling, and then see the keychain, transfer to the truck, and return A male protagonist walked into a warehouse, and the soundtrack continued to be mysterious, the father's locker, knives, alluding to his father's violence;
Scene 6: The truck (starting from the car scene again) The smoking girl, the male protagonist goes to the female protagonist's house to take care of the cat boiler (meaning boiler), the male protagonist enters the house after pressing the password, the room has no obvious signs of cleaning up, no cat is seen, only When it comes to cat feces, people who have raised cats can definitely conclude that 100% of them have a cat, and here the cat is counted as a clue. Then, the male protagonist was suffering from lovesickness, and licked the photo of the balcony and the female protagonist.
Scene 7: Enter the court to try the father, turn to the lawyer to talk, describe the father's personality, have strong self-esteem, and the lawyer asks the male protagonist to write a petition for reflection.
Shot 8: The male protagonist feeds the cat in the female protagonist's house. He mentioned that it has been half a month since the last visit, and he did not see a cat. At this time, the camera did not explain the reduction of cat food and whether there was cat feces. The male protagonist was lying in confusion. On the heroine's bed, it may be missing. In fact, the film's handling of the feeling of missing is very subtle, and the expressions of the characters are difficult to see, but it is very in line with Haruki Murakami's technique.
When the male protagonist received a call from the female protagonist, he saw the joy on the male protagonist's expression. At this time, the film is close to 30mins, and the narrative style of the film is slow. Like reading a novel, it is all creating an atmosphere. An important part of storytelling in a film is the rhythm. There are many people who can tell the story. The way of telling the story and the rhythm of the story are the characteristics of the director. This can be regarded as the end of the first part of the film.
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Scene 9: (The lens language of "car" can be hard-connected - luggage cart) The male protagonist picks up the female protagonist and leads to the second male. Although the relationship between the male and female protagonists has not been clearly determined, the male protagonist is cold in his heart, and his head is The green one, and then the camera inside the car. The second man said on the phone that the DNA is excellent, and he laughed, which shaped the character of the second man, and the caller was his mother, reflecting the absolute difference in identities between the male lead and the second male. .
Shot 10: The innocent heroine describes a desert sunset while eating. It is specially mentioned that the sunset disappears from orange --> blood red --> purple --> blue -->, and the sun disappears like life. The female lead shed tears, and the male second started laughing (the male protagonist laughs like this many times in the film, which means a lot), and then introduced the male second's outlook on life, and the male second wanted to tell the man who wrote the novel about himself. host. The heroine fell asleep again in seconds. In fact, the heroine is the one who truly experiences the inner bass sound. She can do whatever she wants.
When the second male is taking a friend to deliver the car, he will check out. The male lead looks at the second male, corresponding to the first male lead to check out.
Then there is another Porsche shot (how to say again), the male protagonist helps with the luggage, the female protagonist responds to the male protagonist with her eyes for the first time, the male protagonist watches the female protagonist and the second male leave in a Porsche,
Scene 11: The male protagonist drives home, ghosts music, arrives home, and receives the third unmanned phone call. At this time, the male protagonist's emotional contrast has begun to change, and he reprimands the unmanned phone.
Shot 12: The male protagonist threw a ball in front of his father's photo to exercise, wrote a petition, and then found the resident's signature. This is the first time that the male protagonist has other characters appearing in the camera after returning to his hometown. In front of him is the sound of TV at home. The male protagonist portrayed by the director is a kind of marginalized person in society. Then the chief and the male protagonist walked out of the greenhouse, and the female protagonist called when the sign was signed.
Shot 13: The male protagonist takes a bus (and a car again) and meets the female protagonist in a high-end area. The male protagonist is delighted. After seeing the second male protagonist, his expression returns to dullness. The female protagonist explains that the second male protagonist wants to call the male protagonist. Meeting together, (in some of Murakami's novels, there are many character relationships between two men and one woman, in which the male lead and the male lead have different identities and different personalities, but the male lead always has some kind of difference to the male lead. If you don't believe me, you can look it up), the second male and the female lead played a stone game, and the second male also said a character trait: as long as it is fun, he will do anything, and the female lead looks back at the male lead during the game.
The male second and the male lead talked about an author, William Faulkner, an American stream-of-consciousness representative novelist. In fact, the style of this film is more like the director's personal performance of the style of Haruki Murakami's writing style in the adaptation of the original work "Burning House". If you have seen a lot Murakami's style will also be of great help to the understanding of this film.
The three went to the second male's house together. After entering the gate, the second male also said hello to the guards, which was completely different from the male lead's social relationship. After arriving at the second man's house, the elegant decoration and artistic taste display, the second man and the female protagonist have a conversation about cooking, the male protagonist begins to have a mysterious desire to explore the second male, and the male protagonist finds that in the toilet where towels are neatly arranged, he is different from the male protagonist. Items such as jewelry of abnormal ladies with two identities.
The male protagonist and the female protagonist have a smoking conversation. Compared with the first conversation, the male and female protagonists’ body orientations have changed, and their body language is the least deceiving. At this time, there are also close-ups of the male protagonist’s face. The language of the camera is realistic. The mysterious identity of the rich aroused doubts, and also warned the heroine, the heroine said that the second male liked people like her. Perhaps it is for the second male who is a wealthy class in the film, why should he explain the interactions between the male and female protagonists.
At this time, the identities and backgrounds of the main characters have been explained, but the relationship between the characters has moved to a more tense situation. Character heroine.
In the group portraits in the follow-up shots, friends gather, the heroine is innocently dancing the dance of life, the rich look on from the side, the male protagonist is more like a bystander, watching the jokes of the two boys and friends, while watching the male protagonist can't mention it. Spiritual yawning adds to the character of the second male fan. The female lead of Disco dances, and the male lead knows the identity difference and runs away.
End of second part
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Shot 14: Cow, (cow can be seen as a metaphor in the film, which will be mentioned later) The male protagonist is dealing with cow dung, but he is "carnival" alone. When he receives a phone call from the female protagonist, it seems that he is always "happy". Only then did I receive a call from the heroine, saying that I went to the hero's house with the second man.
Porsche goes from far to near (the camera starts again!), the heroine starts waving from the window very far away, the second male looks around and asks the source of the broadcast sound, the heroine recalls the disappearance of the house and the water well incident when she was a child. The "metaphor" of the well appears, (there is a well in Haruki Murakami's "Norway", and Murakami also gave a detailed description, saying: "Whether there is a well, it is unknown, or it is only a matter of fact. An impression or a symbol of her existence is unknown")
Shot 15: The three men sit and watch the sunset. The second male does not yawn this time, and the three smoke marijuana. The director has no dialogue for a long time at this time. The long-shot still scene, and against the background of the sunset, the visual peak of the film. Coupled with Jazz music (the male second went to the Porsche to open it), the female protagonist staged a beautiful nude dance back, the female protagonist was naked on the upper body and played a flying thing, corresponding to pantomime, the chest shape is very good, it is suitable to enjoy slowly . I remember that Gao Xiaosong mentioned in an issue of "Xiaoshuo" that art films can't find people with big breasts. Once the breasts are big, they can't think deeply. That's true.
If you are careful, you can see the color change of the sunset in the picture. When the heroine talked about the sunset in the African desert after her trip to Africa, she said that the sunset changed from orange --> blood red --> purple --> blue --> disappeared, and the sun disappeared. like life. He also said that he wants to disappear like the sunset, perhaps this is the most perfect bloom of the heroine's life.
When the female lead who was sleeping with a second came into the room to sleep on the sofa, the second male laughed like that again. The camera cuts to the male protagonist talking with the male second, which may be the cause of marijuana. For the first time, the male protagonist revealed the emotional content of his heart, his parents' situation, and mentioned that he burned clothes. At the beginning, when the male protagonist is talking about himself, the camera is on the second male, and then switches, and when the second male speaks, the camera is also facing the male protagonist.
At this time, the director began to do psychological excavation of the male protagonist and the second male lead, watching each other's reactions, and the film used dramatic scenes. The second man talks about his hobby of burning sheds, the abandoned greenhouses that no one cares about. The second man does not consider the burning of the sheds to be immoral or against the law. It is just that the unsightly greenhouses are waiting for him to burn. He smiles and says that he will be happy. The bass sounded with the bones. At this time, there was no soundtrack in the movie, and no lights were used to enhance it. In the dark, the conversation between the first male and the second male was actually a competition for identity.
The movie time has reached the middle position, and the positive narrative [burning] with the title of the movie is really mentioned. I've seen many good films like this. Of course, this requires the director's strong storytelling skills, because if you don't pay attention to many of the previous ones, it's not a foreshadowing, but the movie has gone wrong.
When the male protagonist said that he loved the female protagonist, the second male laughed like that again, maybe it was the male protagonist, maybe the male protagonist's lower-level status was not worthy of love, or maybe he was laughing about love itself. The hostess wakes up and interrupts the conversation. The male protagonist body language with the female protagonist this time, the female protagonist turns her back to the male protagonist, and when the male protagonist speaks rebukes, her face is cold. In fact, the heroine has always maintained an image similar to an innocent girl throughout the whole article, like an angel, always curious about everything and people. This is the first cold face in the heroine's film, and the last time. The male protagonist continued to wrestle with the male second, talking about the burning of the greenhouse, and the second male was laughing again. There are many metaphors for the burning of the shed here, and the second male is just joking.
At the end of the third part of the film, the relationship between the characters enters a state of tension, which not only points to the topic, but also brings out many metaphors through the conversation. Generally, when the film progresses here, the narrative rhythm will speed up.
The third part is over.
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Shot 16: The sofa is dreaming (involved many times in the film), the male protagonist is dreaming, and the child is happy when he sees the scene of the burning shed. Dreams are the product of the subconscious mind, and the director will be most interested in dreams, which are unreal and unreal, and can enhance the suspense of the story. The hero wakes up. There are many times in the film that the male protagonist wakes up from the sofa, which can be regarded as a node between reality and dream. Based on this, many hypothetical inferences can be made about the film. After the male protagonist went out, he found the male protagonist lighter. (Actually, if there is no picture of children in the dream, the lighter and some follow-up clues, the story will definitely have a completely different direction)
Shot 17: The male protagonist was interviewing in a factory with forklifts (cars and cars!!!), during which he called the female protagonist and no one answered. After no answer, he drove home and saw the greenhouse, so he began to look for it. The second man said Dilapidated shed. When I was looking for a greenhouse, I received a call from the heroine, but there was only the sound of running and chasing, and I suspected that the heroine was in danger.
At this time, the film enters a fast pace, and most of the scenes behind are narrative shots. Finding the heroine is the main line, and the shots change quickly. I go to the heroine's house and find that the password has been changed. View all nearby greenhouses on the map,
Shot 18: After I went to the hostess's house and asked the administrator to open the door, I entered the house and found that the house was clean and there were no traces of cats and cats. The hostess's suitcase was still there. --> Ask the hostess' colleague, the colleague's excuse because of the card debt , --> Dumb Theater, no results --> found the greenhouse again, and tried to set it on fire.
Scene 19: Surveillance looking for the second male. When I saw the second male, the male protagonist just suspected that the disappearance of the female protagonist was related to the second male, but there was no solid evidence, so he began to question the burning of the greenhouse. After seeing that the second man has a new love, he asked where the second man and the heroine were, and got some personal information from the heroine: no money to travel, no family contact, no one to take care of, maybe disappear like a cigarette. But the male lead is important to the female lead. And the second male talked about his jealousy towards the male protagonist as a joke.
Perhaps the male protagonist has already decided that the female protagonist has just disappeared without a trace, so he begins to seek the imprint of the female protagonist's life, the water well incident.
Scene 20: The male protagonist went to the female protagonist's family to confirm the water well incident. They still insisted on the debt and said that there was no well. --> Find the rior and ask about the well --> Make sure there is no well.
Shot 21: (The police car shot starts again) At this time, the male protagonist has changed in his heart, and the rhythm of the camera has sped up again. He begins to follow the second male's itinerary, the overpass, the gym, the church, the place to eat, and the car chase scene until the second male arrives. Go to the dam and let go of yourself.
The fourth part is over.
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Shot 22: The male protagonist wakes up on the sofa again with an uncomfortable face. This may be to increase the foggy feeling of the interweaving of dreams and reality.
Shot 23: The male protagonist's mother called and met. Among them, the male protagonist's mother started a paragraph saying that it was the debt collector's pursuit of the mother, but it was like the scene of the male protagonist's pursuit of the female protagonist's clues. The male protagonist confirmed the well The presence. Because the male protagonist has searched for many people to no avail, but learned from the mother who has been missing for 16 years that there is a well, it can also be understood that all the following parts happened only in the male protagonist's dream.
Shot 24: Looking for clues to the murderer. The camera started with the male protagonist's surveillance screen. When he was discovered, he went to the second man's house and said there was a party. When he asked the male protagonist what to write in the novel, the male protagonist said that the world was like a riddle.
When I went to the toilet to check, I also saw the "winner watch", saw the trace of the cat, opened the door and the cat ran out. When looking for the cat, the female partner called the cat a butterfly, and when the female lead danced naked, it was like a flying butterfly. And the heroine may have disappeared in the form of a butterfly, and the cat may be a metaphor for the heroine being "subdued" by the second male as a living trophy. The male lead calls boil to find the cat. The male protagonist determines that the male protagonist is the murderer, and at the same time at the male protagonist's house party, he finds that the male protagonist is yawning again.
Let’s try to analyze the second male lead here: The male lead escapes from the party and leaves, and when a marginal person leaves, everyone will not pay attention, except for the male second who is interested in them, the second male catches up with the male lead, preaches to the male lead, and enjoys everything , don't run away from your inner bass. In the film, the second male is interested in people like the female protagonist and the male protagonist, so he always calls the male protagonist when he is with the female protagonist. Prey all. Because the heroine and the hero are one. Moreover, when the male protagonist is monitoring the male protagonist, he already knows that the male protagonist knows the truth and uses some means to make the female protagonist disappear. The male and female protagonists and the bottom people play the most thoroughly.
end of part 5
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Shot 25: The rest is sentencing. The protagonist's father's trial. The male protagonist sends the ox to the car and pronounces the sentence on the ox. This shot corresponds to the last time the three of them went out after eating for the first time. The male protagonist watched the female protagonist get on the second male Porsche. At that time, the female protagonist also looked at the male protagonist. This time, it's a close-up of the cow's eyes, enslaved and at the mercy of others. The man saw himself. Maybe he knew what to do. The male protagonist goes to the female protagonist's room for the last time to keep his imagination warm.
A cutaway is writing a novel. The soundtrack is cello and all the other sounds, unlike the ghostly music in the middle. The latter may be easily understood as the situation in which the male protagonist writes novels, or it can be understood as the kind of ceremony in which the male second "sentences" another female protagonist, just like the sense of homage in cooking.
The two males stood next to the Porsche and waited for the male protagonist to appear. The male protagonist directly stabbed the male protagonist with a knife (a knife in his father's locker). After the second was stabbed, he hugged the male protagonist tightly. The second male was also empty, otherwise he would not be laughing at the "strange behavior" of the male and female protagonists, yawning many times during the party, and emptying himself against the dam. The second male may also need the male lead's final judgment against him in the emptiness of life, but the process of his stabbing to death is as powerful as the sunset.
The male protagonist got the second male into the Porsche, and also took off all the clothes on his body, and burned it all with the lighter of the second male: Porsche, second male, clothes. (Finally, based on the information that starts with the car many times, I seriously doubt that the director revealed the core of the film: just to burn a Porsche) The male protagonist walked into his truck naked, like doing a clumsy dance, like a female Like the main naked dance. The camera finally disappeared under the firelight in the male owner's car window. The ending is powerful.
all END
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Conclusion: The film is adapted from Haruki Murakami's short story "Burning the Barn", and also borrowed from the American writer William Faulkner's "Burning the Horse Barn", which I personally think is the director's interpretation of Murakami's style. There are a lot of Murakami's symbols in the film, three people The relationship model, the rich family's special affection for the male protagonist, and the Murakami-style dialogue in the film are the films that I have seen the most from which I can feel the atmosphere of Murakami's novels.
Try to analyze the three characters in the film,
Female protagonist: First of all, I declare that I am not a patriarch, nor a feminist. The female protagonists in most films either exist as vases or act as catalysts for the psychological growth of the male protagonists. (Men are hurt by women. , and then rise up) does not have its own independent meaning of existence. The film is also not out of the ordinary. First of all, the female protagonist is a character who lives at the bottom like the male protagonist, a person with a Great Hunger in her heart. Although the female protagonist has a pure character that can be loved by many people, the female protagonist does not eagerly solve the small hunger in life. (payment of card debts, etc.), but to pursue the great hunger that matches the reality: pantomime, Africa, sunset. In the end, it became a joke and a plaything for the rich. In the eyes of boyfriends and friends, they know very well that the heroine is only the Nth plaything of the second male, and the second male will only look for this kind of person who has no sense of existence in society as his foil to fill his inner hunger. The heroine is the cat (some people say that women are like cats,) and can only wait for others to feed. , and finally become the spoils of others.
Male 2: There is above.
Male protagonist: Maybe it’s because I think too complicatedly and get mixed up with more personal understanding of the novel. One layer: I found that the male protagonist’s identity is more like the “I” in this movie novel, a narrator, a bystander, From the beginning, he observed everything coldly and without emotion. Even if he was ridiculed, he would not say a word. There were many scenes from his perspective. He was more like an outsider. It was not until he smoked marijuana. An inner release. In the end, there is also a "judgment" that only God has.
Another layer: When the male protagonist is really the person in the painting, the male protagonist studies literature and has a dream of a novelist, but in the real career tide, he can only rely on temporary work to maintain a small hunger. The small hunger and the big hunger collide fiercely in my heart, so I am speechless about everything. The following paragraph borrows comments from others.) It stands to reason that a person who wants to become a writer should be full of all kinds of hunger in his inner world, convert his inner hunger into words, and announce the world. But Zhong Xiu said he wanted to write a novel, but he didn't start writing it for a long time. His lazy personality made him have no courage to take the step of pursuing the spiritual world. Zhong Xiu's usual behavior and state are also out of place in the comparison between Hai Mei and Ben. The male protagonist is like the cow, a thoughtful cow, but he still cannot escape the passive situation. When he is attracted to the female protagonist, he is also flirted, and he does not fight when he encounters a rival in love. Fortunately, under the reminder of Niu's eyes, he still woke up and completed his revenge.
~~~~~~~~~~~~ Thanks for the interpretation of the characters in the link https://baike.baidu.com/tashuo/browse/content?id=3401e8c26484e2b3b6e8fae9&fr=qingtian&lemmaId=22485286
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