I didn't feel very good when I first watched the movie, but after thinking about it carefully, I couldn't help but be amazed and deeply moved.
As the director's feature-length film Virgin, this film shows a high directorial talent. This talent is in the language of the film, similar to the kind of genius that Jia Zhangke showed in "Xiao Wu". place. All film vocabulary is intended to create an atmosphere of instability. In this way, the director expresses his disappointment with human nature and the social system built by human beings. cause of discomfort.
First, the camera is unstable when moving. There are almost no fixed shots in the film, but this is different from the kind of hand-held Lou Ye is used to, but a sense of instability is integrated into every type of shot. When the subject is moving fast, the lens will shake violently, even a little dizziness, and the panning and panning are not smooth; even when shooting the non-moving front and back shots, the lens vibrates slightly , and this vibrato is different from breathing shots that add a natural feel.
Second, the cracked sound, the broken bridge and the soundtrack. The first scene in the opening scene is Penny screaming hoarsely. The mix volume of the library is fine, but the screaming sound is so harsh that I couldn't help rubbing my ears after listening to it. The sound bridge connected between the lenses often breaks with the jumper lens. The same is true for the thematic connection between the soundtracks. The fast-paced dynamic music of the sports scenes has a certain sense of disconnection from the usual realistic soundtracks. While it's questionable whether there's a problem with directorial control here, I think it serves the theme as well.
Finally, a tight and chaotic composition. Most of the film's interior scenes, the composition is tight, and most of the characters are taken in close-up shots (Penny is really cute). The same is true for the design of the camera. In the scene where Penny is sitting on the side of the road calling his mother, the depth of field is opened, and you can see that the big tree by the road has been shaking uneasy.
All of this cinematic language serves one purpose—to make audiences experience the same feelings as Penny. The ideographic system of the film is precise, but the narrative is chaotic and lacking in focus, which, along with all the film's technique, places the audience in a world of chaos and disorder. In this world, you can't control yourself, and you can't rely on others. The audience was driven by the camera, just like Penny was discarded everywhere in this society. One second he was full of joy and thought he could go home with his mother, and the next second he was abandoned.
Seeing the big smile on Penny's face in the last scene, I also received the sense of powerlessness that the director wanted to convey. First of all, let me talk about my personal understanding of the ending part. I think that Penny has never actually walked out of that forest, and that part of Penny getting lost in the forest and finally sleeping with the dog in the kennel, the reality and the environment are mixed. In the realistic part, the director actually gave a picture of Penny being carried away in a plastic bag - this is the way to deal with dead bodies. In the end, the scene where Penny woke up to see his mother and was sent abroad for intensive treatment was actually an ideographic passage from the director.
To understand this ending, we must first understand the topic to be discussed throughout the article. The director is making the film and is also doing a documentary about abandoned women's homes. The same is true for this film, which tells the process of an alien being abandoned. First of all, we can see the strict child protection system in German society. Even for a child like Benny, there are still more than 30 children's centers to go to and families who are willing to accept her. But at the same time, the director also tells through such an extreme case that the foundation of human society is self-protection.
Benny suffers from so-called PTSD, and the manic response to the trauma is beyond her control. Everyone knows this well, and at the same time pity her because of this, but this kind of pity has a premise, that is, you must first ensure that your life is running normally. Where does this trauma come from, the family of origin and social issues are not discussed. The point is how people face after this kind of thing happens, and the ending shown by the director is abandonment. We can see that Benny is very kind and lovely when she is not sick. She is eager for love and even to the point of being careful to please, but it is such an angelic child who has been "systematized" again after being hurt. abandoned.
After Benny fled from Misha's house, he ran into the wild. After Misha chased out, he watched Benny's back gradually stop. At this time, Benny looked back at Misha who stopped chasing him. Understand that Misha at this time wants her to escape, and hopes that she will disappear from this world. At this time, Misha personally abandoned her. After that, Benny was decided to be sent abroad for intensive treatment, which was a kind of social abandonment.
Misha mentioned a concept called "rescue hallucination" in the film. The psychological explanation for this concept is that "this psychological function system uses hostile omnipotent fantasy to defend against helplessness. The fantasy of the therapist saving the child It contains subconscious hostility towards parents, possibly a reactive element of defensive hostility towards parents, which exacerbates the difficulty of the work.” This is for child workers, reminding them that having this mentality can have a negative impact on therapy work. Adversely, this concept appears and its hypocrisy in the film.
A person who had a great influence on me said this. She said that her greatest wish is to have a little more unconditional love in this world, which is why she decided to make a movie. Perhaps the director wants to express through this film, I am afraid that is also the case.
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