If it wasn't for Kim Ji-deok, I wouldn't watch Korean films.
1 They are all brothers of BMW, have something to say about
luxury villas, beautiful wives, golf .. the life of a successful man. The BMW car drove out of the garage and had a face-to-face conversation with the BMW motorcycle. The condescending eyes of successful men and the materialistic mentality of emperors seemed to indicate that all issues related to money were not a problem, and unruly men also spoke with calm eyes However, what he saw was not the noble status of BMW, but the noble body.
They are all BMW products, but they also have different requirements. A BMW sedan is an identity, riding a Mercedes-Benz, driving a BMW, the middle class is like a screw running on their ideal machine, not for the country, for the nation, but only for themselves, they advocate personal struggle, and they can only Drive along the established trajectory and enjoy the "fun to drive" on this city's frantic foraging journey.
BMW motorcycles, among the neat streets of Korea, are implicit and unrestrained. In America, they might be Harley-Davidsons, with Harley-branded jackets, frayed jeans and rugged leather boots, with the Harley-branded logo on their bodies, roaring past like horses. But in South Korea, in the hearts of Asians, that is violence, that is a wild horse that is out of control, so even if it is unrestrained, it is necessary to be a little more reserved. Because of the commonality of motorcycles, further speaking, it may be in Guangzhou, Chongqing, and Mercedes-Benz. Most of them are Jialing motorcycles. Whether they are running for their ideals or running for life, they are symbols of freedom.
So that day I heard that Guangzhou will make motorcycles disappear in the city in the next few years. I waved a motorcycle on the streets of Chongqing and said to the driver, drive as much as you like, and let me come from there. Choking in the wind.
In short, from 2 minutes 22 seconds to 2 minutes 50 seconds from the beginning of the film, BMW's sedan and motorcycle completed a wonderful dialogue.
2 open cavity, shoot
Because the director doesn't want to talk, the actors can't talk, and because the actors can't talk, they always have to find something to talk to. Inside the first empty room, a gun was talking.
Uninhibited men enter the little boy's room, just as adults enter the body of childhood, because where can one find freedom in toys (props) and do whatever they want without harming the existing facts. Transforming the object in the mind, whether we realize it or not, the metaphor of the object exists. As Haruki Murakami said, there is nothing in the world that is not a metaphor, even flowers are metaphors for sex.
In the first empty room, the director designed the shooting scene. The first shot, without bullets, the unruly man shot himself, because for such an unruly person, psychologically, he avoids and escapes from the object. In the consciousness of disdain and dissatisfaction, it is impossible for his mind to be satisfied with his "object". His mind has long been on the side of water, but his body can only be mixed with other objects in the world and become a part of it. . Therefore, the "self" in the "spirit" must have a tendency to stifle the "self" in the "body". To put it simply, the
soul of the great sage Monkey King came out of the shell, 3 beat the white bone spirit, and when he looked back, his own shell was thrown away. Next to the disgusting Tang Seng, he immediately burned with anger, and cursed: "Such a disgusting expelling shell, what's the use of it!" So I hit the head with a blow, the stick hit my ear, and then I thought, he's gone? am i still there? So I saw a bang, the golden bone rod flashed with fire, and the tight hoop curse landed on the spot, and the great holy spirit of Qitian returned to his dantian. Depend on! I didn't fucking do anything.
Therefore, from the point of view that consciousness determines action, unruly men will shoot that shot at themselves in vain.
Then, he loaded up and fired at several balloons. The metaphor of the balloon is the same as the word "bubble" in the bubble economy, and the balloon and the "bubble" of the "bubble economy" are more appropriate than the "soap bubble". Both are man-made objects, both of them show strong vitality in the form of "rapid expansion" before they break, and use colors to show their beauty. It's "eternal beauty", like a balloon, that either bursts under the toy gun of the unruly man like it hangs in the child's room, or the unruly man never enters the room and does not interfere with all the "being" inside, then the balloon is It will slowly wither naturally. In the adult world, the same is true in the bubble economy.
Here, the role of the unruly man is the incarnation of the director's stream of consciousness. This is what I want to express in "A Movie that Flows at Will, Blood Precipitated by Time". In the real society of South Korea, director Kim Ki-duk is also a marginal person, or a person with personality, and the mentality of the marginal person is often easier to see more profound things. To what extent is the director "unruly"?
"Lee Sung-yeon, the heroine in the film, was the object of public criticism in South Korea because of the "comfort women's photo scandal" at the beginning of this year, and even people thought that she would disappear from the entertainment industry forever. Venice, became the center of attention. She said that it may be difficult to regain support in Korea, but since she can stand up in Venice, she will definitely stand up again in Korea. ( http://www.filmsea.com .cn/movie_review/200501250006.htm )
For the same Asians, Koreans who may be more passionate (tough? Powerful?) than us, who can stand up more and say no to Japan with blood and nationality, Kim Ki-duk's behavior must be rebellious. Can this behavior be seen as a tendency to "fawn on foreigners"? A director thinks about problems in a personal way, deeply analyzes himself and human nature, and when the group he is in cannot understand, the situation of "flowers inside the walls and fragrances outside the walls" naturally emerges. Antonio's documentary "China" filmed in China in the 1970s was not released at the Cannes Film Festival due to public pressure. Not long ago, a film and cultural festival in Beijing invited him back. Perhaps, only through the tempering of time can the inner understanding be precipitated. In the long river of time, "existence" can return to its original color in the public eye.
The recent photo exhibition on "3-Line Construction" on Dipai.com also showed this problem.
What I want to say is that, from the perspective of history, the subject itself (individual, collective, nation) can face up to the "dirty history" that it has experienced at the latter point than at the former point. How miserable it was, not enough clothes. From the perspective of existence, countries with high order, high freedom, and high inclusiveness are also better able to understand relatively backward cultures because they have experienced it. However, for behaviors that may be regarded as "betrayal" by the public to show "backwardness" to the outside world, the perpetrators are often abandoned and spurned by the public. Give it to the British Museum, you don't have any clothes on, and give them the green uniforms of the Red Guards for their collection.
From this, we return to the "recording" function of artists and photographers. Why do photographers, artists, care less about normal things, bright things? Because the glorious scene of "prosperity" of a certain era has "existed" among the public, because the instinctive avoidance of "pain" makes the public ignore the "dirty past" and tend to "harmonious and reasonable" living in "existing facts". And the role of an artist is to "record" bits and pieces in the long river of history. When looking back on the past, the current public can say: Oh, it turns out that we have come from this past to the present. Looking forward to the future, artists (directors are also artists who record thoughts) can only record the reality. They may be thinking in their hearts: the only thing they can do is to use their "advanced" "ideology" to "objectively record" the current existence as much as possible, Then collect it well, and get the understanding of future generations in the long river of history. This is the reason why many excellent works were spurned at the time, and only after being tempered by time can they be accepted by the public and regarded as classics.
It is meaningless to talk about movies after being separated from an era. Why is South Korea's movies so prosperous now? TV show so prosperous? I don't want to say more, an intellectual with a little conscience doesn't need to go abroad to collect any reactionary materials, just do a little research, and you can know about Taiwanese films, Japanese films, and Korean films, and how they got to where they are now. But this era itself is progress, and progress is inclusive, that is, "Kekexili", "Peacock" and "The World" can enter our cinemas, that is, Uncle Chongqing can squander his emotions on the street without worrying about someone rushing from behind. He came up and lined up on my shoulders and said softly: Comrade, please come with us.
In the second empty room, what happens when the family goes home? The director hints at the discord in the adult world with two adults, and ends the struggle with the child's shooting hints at the awareness of the director himself: "Designing a ' The unruly man who stealthily interfered with the 'established' existence, designed his behavior of loading bullets into the cavity (the gun had no bullets at the beginning), and then used the child's hands to shoot, showing that the director, as an artist himself, was in a relationship with the public. , in the 'conflict' with the existing world, subconsciously, the desire to end the 'conflict' with violence.
Thanks to the times, he can show his stream of consciousness in the movie, he can shoot freely, and I can speak here. Thanks to the Chinese blog, thanks to my friends who read me, and thanks to my mother.
(To be continued)
View more about 3-Iron reviews
