Most of the good horror films at present basically seize the fear element of religion and borrow the natural fear attributes of the dark side of religion - background setting, sense of ritual, depression... This is equivalent to directly borrowing the information of a certain religion To enrich the text, it is relatively labor-saving, similar to the popular Western religious horror movies and a large number of Thai horror movies.
And I think one of the bigger advantages of this film is also related to the topics discussed above. I didn't specifically check whether the religion or cult of the so-called three mothers has a realistic source, but the film's use of the so-called religion, including political metaphors, is brilliant. First of all, the director simplifies the religious setting, and there is no tendency to over-consume things with a sense of religious ritual. In fact, there is very little explanation about these witches in this film. To sum up, it is nothing more than a main line of action for the villains, that is, before the birth of all religions, there was already an organization of witches who worshiped three mothers. One of them had an idea. To a high-ranking bad daughter. Even with only this one piece of information, the film took a lot of writing and explained it from multiple angles. In the middle, the old doctor even made a comparison with the real political parties, explaining how clear the concept of this so-called "internal struggle" is.
Secondly, religion is very closely related to the main line of story expression. The witches started a dance group as a cover, because dance and music have been associated with witchcraft since ancient times. The last scene is also a direct three-line combination, elevating religion to a level of humanistic care that transcends the world. This article wants to focus on the last scene, but before doing that, I want to discuss the basics of the political part of the film.
The background of the story is set in Germany after the end of World War II. East and West Germany is still divided. At this time, it can be said that Germany was in the darkest spiritual era. The people endured poverty with great guilt and frustration after losing the war. And chaos, young people born in this generation also have to face the sins committed by their predecessors for life. So the core discussion of this film is actually very similar to "The Reader" - focusing on post-war Germany and how the world should chew on this pain and sin.
In the film again, through the mouth of an old doctor, he explained the director's views on the country and religion. He said, "A person tells others about her fantasies and makes them believe that this is religion, and so is Germany." There is no need to say much about this concept. Whether it is a country or a religion, it is actually a "story", a "story" that many people believe and identify with. It is essentially an organizational method integrated by spirit and ideology. Then the film successfully expresses the final theme with the activities of seizing power in the three-layer metaphorical system of orchestra-religion-state society.
This also comes to the penultimate scene of the film. Suzy, who clarified her identity, came to the old doctor's bed and said to him: "We need sin, but not yours." This sentence and the last shot show the director's attitude that we need to look directly at the sins of the past and realize that these sins have their own meaning, but for those who are not involved but are involved in the pain , we should give mercy, even if this mercy - erasing memory - is impossible in reality, this is where reality is crueler than movies.
In the last shot, after the passage of time, the picture became bright and warm for the first time. The shot was gradually fixed on the peach heart carved by the old doctor and his wife. All sins will eventually pass away, and only love will last forever.
Finally, let's talk about the highlights of the specific director's skills. First of all, my favorite part is the handling of the dance passages, especially the first time Susie tries to lead the dance, the witch connects her movements with the body of another female dancer through some force, causing her every Movements all have an effect on a female dancer's body, and the more powerful her movements, the more powerful that effect will devastate another dancer! The director uses parallel editing to combine the two movements, and the dance, which is clearly a combination of power and beauty, is full of horror. And the rhythm of this kind of editing is actually revealed by the director at the beginning of the film. The moment Patricia entered the doctor's room, the three shots were quickly edited, and Patricia sat down from the door to the chair. The action is complete.
The second is the handling of the characters, mainly the heroine Susie. At the end of the film, we know that she is actually a mother who came back to teach her bad daughter. This setting has been revealed from the beginning, but it will not make the audience suspicious. The director used a delicate technique to make us feel that something was wrong with this girl, but he couldn't tell. In retrospect, several scenes have hints. One is Susie's remarks about returning to the earth when she and Blank are discussing jumping, and her telling Blank that dancing is beautiful, which shows that she is teaching her daughter by example. There is another scene that is even more obvious. When Susie saw that the management had stopped the police officers who came to investigate and played with their bodies, she couldn't help laughing. The kind of laughter was when her mother saw her being naughty. her daughter smiled dotingly.
Last but not least, I love the name sigh mother. Sighing is the attitude we should have when facing many great disasters. In the face of great pain, perhaps he can only sigh and move on.
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