Antonioni said that the so-called red desert is "a blood-soaked desert covered with human corpses." Color is used as an ideographic symbol. At the beginning, the woman in the green trench coat and the boy in the brown-yellow coat are cloudy and gray in the big vision. Stand out among the drab ruins. The dark yellow waste smoke is a symbol of the destruction of the human living environment by industrial civilization. The gloomy blue color is a metaphor for the separation and coldness of the relationship between people. Yes, it is psychological, hallucinatory.
The group in the middle is a carnival: a group of idle middle-class, bourgeoisie play sexual games of teasing and seducing each other after dinner. There are also life-like demolition of houses and firewood. Everything is looking for possible meanings in boredom. But the temptation and lingering of the flesh, after a brief intercourse, fell into a thick self-anxiety, daze, anxiety and self-denial. Worldly happiness and the progress brought about by industry can no longer save the desolation and indifference of the bourgeoisie in the industrialized society.
The film's alienation texture is well done, with a large number of shots ranging from close-ups to medium shots to long-range shots, allowing the audience to intuitively see that people are presented in the environmental space: the huge gray tones, and the boundless fog standing in the thick fog. People, empty, inexplicably sad and anxious. Insanity and pleasure are seamlessly connected, always having fun one second and losing the next. The camera subtly hints at people's sense of alienation and loneliness in the environment, and depicts the inner chaos of the protagonist's loss of self-awareness. The abstract painting style produced by the virtual focus lens, the background is an important ideographic element, and the morbidity and inner chaos of the heroine stem from the most common sense of loneliness of human beings: this is a disease of the times, a kind of endless indulgence. And in the carnival, I found that life was unreliable, and I found that the surrounding environment was silently swallowing the tranquility and comfort of human hearts. Take a look at the icy city, represented only by angular industrial symbols under reinforced concrete, full of smoking chimneys, concrete buildings, warehouses and oil refineries. The air was filled with the noise of machines and steamboat whistles, and oil was floating on the river. Noises and gases and tones bring intuitive visual and auditory stimuli. In the warm moments that appear in the film, there is a group of people burning wood, so in the end, the most primitive does not come from industrialized products, but the happiness that is more pure and close to nature, is it what Heidegger said: human beings A holy place for the soul? And the pink room after sex with my husband and friend, but then it turns into a flat, angular white space. The daze and emptiness in the heroine's heart cannot be filled with love, family affection, or even lust. This seems to imply industrial civilization. Even if it brings endless wealth to people, it still cannot change the emptiness and loneliness in people's hearts. Indifference and alienation.
The seaside utopia full of beautiful sustenance in the film may be the only bright segment in the film. The mother told the child about the utopian world in her heart, and the child seemed to understand it, but finally came to the factory with yellow smoke. Even if Nanke Yimeng, if he really faces Utopia, will his inner desolation still remain? And at the end, I came to the abandoned and dilapidated cabin, with the artificially colored dark gray and the back of the female protagonist going away from a perspective perspective. If she can get on this ship, will she really be able to sail into the distance?
Looking at the bourgeoisie in the industrial age, they can't find a place to live in wealth, family, love, and indulgence, and they face the desolation of their souls. Perhaps this is the awakened bourgeoisie? After all, so many bourgeoisie are still immersed in a world of materialistic carnivals and intoxicated money, and so many proletariats have no time to indulge in spiritual emptiness, and are busy and full, seeking to survive the infinite misery.
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