On the first screening day of the main competition unit of the 11th #faroeislandfilmfestival, we will bring you the opening film "The End of the Wild Flower". Below, we will bring you the fearless and courageous comments of the fearless women on the front line!
cost wood:
Sa was a mess. Turn your back on authority and don't reason with it. Just do it.
Shawshank Prisoner:
The housewives of that era, from the body to the spirit, betrayed the patriarchal system with two layers, a longing and yearning for the unknown freedom!
Grid artist:
A release of women's freedom, the whole film is neat enough to reflect the director's skills, the only flaw is that the lines and images of the male characters are too deliberately portrayed.
swipe:
I love the last leap. If we stop here, it will be admonishment and suppression, and only by making that step can it be considered transformation. The best journey is the road of no return.
I know a little about her:
I want to run away, accompany me in exile, I am a more dangerous flower, graceful in the end, chic in the humble, flying flowers in the mad song, wherever they fall, they will bloom, and persist until the last fireworks.
Fruit trees:
There are a lot of bright spots, but, like the female vase in other movies, the masking of the males in the film is very harmful to the whole film, especially the overly straightforward forced title at the end, which has reduced a lot of my goodwill towards the film.
Nofan:
This movie is still too early. If it was born in today's feminist era, it would be a matter of minutes to win the Oscar. In addition, I haven't gotten much of Pete's face before, but I finally got it in this movie!
River:
The script is great, the roles are exchanged and grown, the story is eloquent, the music is wonderful, the last jump is heart-wrenching, moving forward is freedom and death, retreating is humiliation and despair, disappearing in death and flying in disappearing, suppressed Women's most powerful response to patriarchal society for thousands of years.
Sparrow:
The character growth from resistance to rebellion, with many elements of roads, violence, and patriarchal worship, it seems that there is no chance to turn back since stepping on the road, and every step points to death, but the rebellious and uninhibited high-spirited tone and publicity of self-character have been reiterated again and again The spirit of never admit defeat, and beat the pathological patriarchy with death.
Cornices:
It is in line with the reverse design thinking of the play. When the elements of power/crime/drag racing/etc are expressed in female characters, it also forms a female perspective from the beginning. In fact, it is not discussing women's rights, it is a tragedy under the oppression of a male-dominated society, and there are also reflections on judicial enforcement. However, the shaping of male characters is somewhat singular and extreme, and violence, sexual oppression, and cunning are all imposed on several male characters, which also makes the speculation about women's psychology a little hasty. What I like is the free pursuit of desperation, towards the end, and towards eternal freedom.
Midnight no one:
Compared with "Silence of the Lambs", this film, as a work with a clear-cut stand and an outline that calls out the voice of women, is often easy to fall into the origin of self-moving, but in the end, the full emotions are wrapped up in a pattern that does not drop in price. Usually, the best way to write about women’s rights is to dwarf the male world, so as to form a logical opposite, but the movie just sets up a male police officer who represents justice, kindness and empathy. You stretch out your trusty arm, but you still choose to travel far and wide rather than repeat the same mistakes. Although resolute, but freedom, this is the spiritual world they pursue.
Pincent:
It's quite American and decent, although it is in the form of anti-bone and violence is used to control violence, it is actually the same kind of routine as a B-level thriller such as "Revenge". The ending is very classically romantic. When we talk about freedom, under the pressure for a long time, we have no way to escape but jump, and only in that moment does freedom come true. Editing speeds up as the characters gradually find themselves, and the music becomes more and more like a traditional Western road movie. In addition to the bluntly labelled male-dominated society criticism for "excessive correction", it also shows a strong distrust of the judicial system, although this judicial system is also composed of a small number of women and officials with correct values.
Bob_Chow:
First of all, we must refute the so-called "creative feminism" appellation. It seems that male violence guides the narrative, but it is not placed in the tone of "staying at home without following the guidance of men". Finally, the sheriff's mercy is again It's not from a male perspective. The multi-layered close-up and static shots are aimed at the faces of the two female protagonists. Of course, from the show to the action in the later stage, it is still gratifying. A vengeful display of female power may be an indictment, but it can also be counterproductive. Fleeing to the south, the trucks, mountains, and boulders on the road are still surrounded by male characteristics. From Pitt's descriptions to the in-person robberies, women's actions are defined as "mimicry." The moment when the eyebrows are painted, the stare of the old lady next door is the best moment in the whole film. The parallel between the two rooms in one night in the hotel has made great efforts in sex and marriage. Sex is loss, but marriage is trust, which returns to the male-dominated family view. The switching of character identities is distorted, and the dramatic male characters are wonderful and ironic. The diversity of analysis, music and photography are all superb. In the end, young Brad Pitt was such a coquettish person.
#FIFF11#DAY1's main competition magazine rating will be released later, please wait and see.
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