Reincarnation is a good-looking and "bad-looking" documentary. The film begins with the dance of three girls, a volcanic eruption, a baby corpse, and an old mummified corpse. It seems to be a metaphor for several main contents of the film, religion, nature and people. After the title of the film came out, there were monasteries and ancient cities in Myanmar, and then the sand paintings of the Tibetan Buddhist mandala and the thousand-handed Guanyin were displayed. In my opinion, this is where the film really begins. From the perspective of photography, the director's photography has a great value orientation. In front of the camera such as natural landscapes, historical relics, religious buildings, most of them are looking up or looking up, and most of them are close or medium shots, expressing awe for these landscapes. And use the way of light flow to express the shortness and passage of time. It seems to express an emotion that these beauties will not fade no matter how time passes. When shooting modern cities, a lot of top-down lenses are used, and most of them are long-range or panoramic. And the use of large and large fast-forward editing makes the originally busy modern life even more busy and even blind. Gives a feeling of depression. In terms of editing, the director also made a lot of metaphors and contrasts. For example, animals slaughtered on the assembly line behind the busy urban crowd seem to be a metaphor for the sadness of modern life. The hilarity of Thai ladyboys was followed by the quiet tears of Japanese geisha, which seemed to be a metaphor for the issue of sexism. Such huge contrasting clips abound in the film, slums behind bustling cities, indifferent wardens and dancing prisoners, high-rise buildings and mountains of garbage, burial of "pistols" and weapons manufacturing lines, war veterans and military parades, uniform martial arts training and constant division of the country. The most shocking thing is the intertwining of performance artists and robots, which seems to be mocking the era when robots are becoming more and more like people, but people are alienated into beasts. Then the film returned to religion. The worshippers revolved around the Kaaba constantly, and the camera zoomed higher and higher, which seemed to show the insignificance of people in front of religion. At the end of the film, we return to the original Buddhist sand painting mandala, which was destroyed by the lama after a solemn silence. The thousand-handed Guanyin at the beginning of the film also started their performance, with countless hands constantly rotating, and all of them are "eyes". I have to mention "eyes" here. The director has shown close-ups of human faces many times in the film, and the core is placed on "eyes". Most of the close-ups are people and eyes that are neither happy nor sad. People say The eyes are the windows to the soul, but the eyes under the director's lens are so confused. It can be said that these eyes are the eyes of the director and ours. In the film, the director showed us many wonders and beautiful scenery and also showed many problems in modern society. Like us, he found many problems but could not solve them, so he could only look around at a loss. Hundreds of years ago, people were threatened by environmental degradation, the gap between the rich and the poor, and the division of the country. Hundreds of years later, we are still the same. It seems that the problem has never been solved. There are countless blank eyes like this, witnessing reincarnation but helpless. So the director returned to religion at the end of the film, trying to find the answer in religion. The destruction of the mandala at the end echoes the mandala at the beginning. In Buddhism, the mandala is a place where all Buddhas stay and practice. The sand painting mandala is in line with the Buddhist concept of one sand and one world, so the production of sand painting mandala is in Tibetan Buddhism. It is regarded as an important part of spiritual practice. Several lamas made a magnificent mandala after several months, but destroyed it after completion. This is consistent with the Buddhist concept of nothingness, indicating that the Buddha's salvation of all living beings is still lonely in the end. did not receive. But the lamas believe that in the process of making the mandala, they have absorbed energy from heaven and earth and gained practice. Here we can actually find that the director is implying that the world we see in the film is actually like the world in the mandala, so there are a lot of scenes in the film looking down at humans like gods. Although the answer the director found from Buddhism is relief, whether prosperity or decay, everything is like sand and vanishes into nothingness, but just like the film's self-description of "guided meditation with silence", perhaps he also hopes that viewers will learn from it. Some practice. The destruction of the mandala at the end echoes the mandala at the beginning. In Buddhism, the mandala is a place where all Buddhas stay and practice. The sand painting mandala is in line with the Buddhist concept of one sand and one world, so the production of sand painting mandala is in Tibetan Buddhism. It is regarded as an important part of spiritual practice. Several lamas made a magnificent mandala after several months, but destroyed it after completion. This is consistent with the Buddhist concept of nothingness, indicating that the Buddha's salvation of all living beings is still lonely in the end. did not receive. But the lamas believe that in the process of making the mandala, they have absorbed energy from heaven and earth and gained practice. Here we can actually find that the director is implying that the world we see in the film is actually like the world in the mandala, so there are a lot of scenes in the film looking down at humans like gods. Although the answer the director found from Buddhism is relief, whether prosperity or decay, everything is like sand and vanishes into nothingness, but just like the film's self-description of "guided meditation with silence", perhaps he also hopes that viewers will learn from it. Some practice. The destruction of the mandala at the end echoes the mandala at the beginning. In Buddhism, the mandala is a place where all Buddhas stay and practice. The sand painting mandala is in line with the Buddhist concept of one sand and one world, so the production of sand painting mandala is in Tibetan Buddhism. It is regarded as an important part of spiritual practice. Several lamas made a magnificent mandala after several months, but destroyed it after completion. This is consistent with the Buddhist concept of nothingness, indicating that the Buddha's salvation of all living beings is still lonely in the end. did not receive. But the lamas believe that in the process of making the mandala, they have absorbed energy from heaven and earth and gained practice. Here we can actually find that the director is implying that the world we see in the film is actually like the world in the mandala, so there are a lot of scenes in the film looking down at humans like gods. Although the answer the director found from Buddhism is relief, whether prosperity or decay, everything is like sand and vanishes into nothingness, but just like the film's self-description of "guided meditation with silence", perhaps he also hopes that viewers will learn from it. Some practice.
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