"They are the wild grass dancing in the hurricane, and the camel crushed by the last straw; they seek a bloody way in the bombardment, and perish together in the lonely glory."
Fassbender makes the characters walk between the various spaces divided by walls. The depth, foreground design and camera movement in the space are dazzling and surprising. The small partitions (real objects or shadows) block the space between the characters. A complex relationship intertwined with love and pain. Childhood and upbringing are destined to make Fassbender's images full of heavy absurd reflections and bloody flavors - "narratives are always intertwined with macro-history and social life, the grotesque presentation of aesthetic style, coupled with walking dead-like dynamics and hangings. The strange face forms a kind of spicy political humor and powerful criticism." Maria is a soul auctioneer who survived the bloody pain, subverting gender in a mentally deformed generation to seek a life, dealing with representing different Among the powerful men, in a state of spiritual alienation, they are cold and lonely, longing for the warmth that is nowhere to be placed. Fassbender used individual struggles to write the common pain of the orphans after the war, "all history is contemporary history"-everyone who writes history does not write history in order to return to history, nor is it like people As imagined, it is to write history in order to broaden the true face of history that has been lost and cannot be tested. Everyone must write history for the present day in which he lives, and his imaginary readers will always be today's readers. When he writes history, he always speaks to today.
Different from the pursuit of pure subjective inspiration by other authors, directors or artists in video creation, the traditional dramatic narrative picked up by Fassbender, whether it is performance or costume design, is full of strong theatrical style ( However, the camera movement design and composition maintain an excellent film quality), Maria Braun's rough and complicated marriage tribulation and emotional entanglements are the transparent surface that promotes the narrative, and the non-transparent deep layer is that she is coerced in the torrent of history , the spiritual torture of unlovable, and finally can only end the continuation of the pain in a way of self-destruction.
I have always favored a state of alienation in images, but the definition of this kind of alienation varies from person to person. Alienation is not the same as refusing to immerse, nor is it equivalent to being cold and ruthless, but rather a roundabout attitude of withdrawal: Complete cold rational thinking while releasing emotion. The magnified live broadcast of the football game radio in "Maria Braun's Marriage" is the representative of a state of alienation, a restrained and holistic destruction, a metaphor for the unsolvable spiritual crisis under the economic boom; Another example is the embarrassing three-person meeting. When faced with a wife embracing a naked black American officer, the first reaction was the prisoner of war husband who rushed for a cigarette. The banter and mockery of the war were obvious. As he said: "I went further than Brecht, I wanted the audience to perceive and think."
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