Yesterday, I saw the long-awaited work of Ceylon: Far Away.
Immediately there is a strong desire to write down my thoughts, but there are too many things to do, so I postpone it; it is my wish, I can't blaspheme this wish, so that I can fulfill it the next day.
In fact, I only watched it once, and after a day, it seems that it has been years in the understanding, and it is not very solemn to interpret it again; so I will only talk about my feelings, and most of these feelings have nothing to do with the movie itself. On the sidelines of the film, the viewer is forgiven.
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The title of the film "uzak", translated as "distance", is actually inappropriate. I think the title should be "distance".
"Distant" focuses on the "fang", emphasizing the transfer of the situation. From this "direction" to the other "fang", there is a hidden romantic idea; the word "distance" is plain and realistic, focusing on the present, Emphasize alienation and inaccessibility. The tone of the two, one is romantic and longing, the other is realistic and helpless. Friends who watch this "distance" with the idea of "distance" will most likely be disappointed.
In order to express "distance", Ceylon uses the scheduling techniques of depth, sound and picture, light and shadow, and virtual reality.
In-depth scheduling is consistent. Even if the figures are in the same frame, they are never in the same depth of field space: standing together, but far apart. The props make full use of the front and back scenes. There is always another object to be photographed in front of and behind the characters, which blocks the characters and strips the viewer's eyes from the characters, so that they cannot fully devote themselves to the joy and anger of the characters. The separation between viewer and character.
The best use of sound and picture is the separation of sound and picture and the subjectivization of sound. Ceylon Music uses natural sound effects and white noise to narrate in a noisy space, and deliberately selects certain sounds for crescendo processing, striving to reproduce the character's sense of hearing, subjectivizing and emotionalizing the objective natural sound to distance the protagonist from the environment. .
Light and shadow and virtual and real focus use the boundaries of light and dark, clear and fuzzy, to distinguish between characters and characters, characters and space.
One shot attests to Ceylon's intentional approach to the above scheduling. When the cousin came to a pub after failing to find a job, the camera selected the cousin and the man next to him as the main characters. My cousin had just sat down, and he was speechless and embarrassed with his neighbor. Here is a side shot, which uses depth, reality and perspective to separate the two. A jump cut, turned corruption into magic, turned into a frontal shot, the two were in symmetrical composition, and their conversations were like old friends for many years. Ceylon's shot scheduling is a great way to eliminate the abruptness of narrative omission.
Using audio-visual scheduling, the abstract concept of "distance" is embodied. The characters are connected with each other, but the tired hearts cannot meet. The viewer and the character seem to be confidants because of the same viewpoint, but they are physically separated. The character truly achieves a "distance" from the universe (inside the work and outside the work).
Although Ceylon emphasizes "distance" and "opposition" in audiovisual aspects, the textual narrative emphasizes overlap and consistency. "Distance" is the question, but "overlap" is the key.
A very important symbol is snow.
In the beginning of the film, in early winter, my cousin set out from the green village and stepped into the vast snow field. This may be the beginning of my cousin's dream, and it is also the severance of his roots with his homeland and family. In the future, there will be little green in the related shots of my cousin. Whether he fails to find a job, or pursues love and is discriminated against, there is only snow in the exterior scenes. Xue's intention, drawn from the cousin's narrative, was taken by the cousin to the cousin's house in the city. Cousin may still run away from green, and by the time the cousin's narrative appears, there is no more green. This shows that the two have the same root.
The first melting of the snow is the first time the two recognize each other in the narrative. The two worked together to do filming work, left the city to go to the countryside, and passed through a village after everything. Under the clear sky, shepherds graze on the edge of the village. The two walked into the green of the village. My cousin was moved, thinking of his youthful wish to "make movies like Tarkovsky". Although my cousin tried to set up a camera, he gave up. Even so, the narrative still emphasizes the "overlap" of the two.
With the disappearance of Xue, the cousin returns to his hometown in the narrative and leaves without saying goodbye.
Another symbol is the mouse. The rat glue placed in the room accidentally stuck to my cousin's foot. Later, he caught the real mouse, and his cousin rolled up the mouse and wanted to throw it away, but he was watched by a group of cats at the discarding place. These two narratives establish the relationship between cousins and mice. The situation between the two is really just like a mouse: first, the dream was shattered, and the death of "Tarkovsky" forced the cousin to live on the edge of the city; dream. Furthermore, it is the distant hope and loss of love. My cousin reappears the masculinity of men from porn all day long, but he does not show his love to his ex-wife and is ashamed to express his love for his ex-wife. The last is the separation of the hometown and the city. The two have obligations to their mother, but they can only communicate with each other on the phone.
The other key things are the silver watch and the smoke. The cousin suspected that the silver watch had been stolen, and found it in his box again in the cousin's hesitant explanation. From the cousin's suspicion, passed on to the cousin's suspicion. The cheap "cigarettes" brought by my cousin from the countryside were initially dismissed by my cousin: "Dogs don't smoke". The cousin left without saying goodbye, but the cousin was drinking alone on the bench. This is the understanding of chicken feathers and alienation, and it is also the cousin's recognition and nostalgia for the homeland.
Due to personal aesthetic preference, I don't like this work. However, the splendid audiovisual + playwriting skills of this work is undeniable.
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