This is a film of Fellini's autobiographical nature. "Amakod" is a transliteration, and the literal translation is "my memory". Fellini's film is a vaudeville sadness. Reality in fantasy. I have seen several of his films. Watching this again, I can feel the influence of his childhood environment on him, the relevance of his teenage memories and his movie world. The world he grew up in seemed to be full of hustle and bustle. Humor is everywhere. Watching his movie, I can feel the fresh breath. Fellini is a master of conveying the breath of life like images. However, I wasn't fully invested in the imagery. While watching an article on Fellini on my phone, I keep my eyes on the screen from time to time. I know Fellini's greatness, but I have seen three of his video works ("Eight and a half", "The Great Road" and this one are his representative works), but they still can't bring me a strong touch. It seemed to be a world separated by a layer.
I am relatively indifferent to the hustle and bustle and sideshow humor of Fellini's video world. Similar in style to him is Kusturica of Yugoslavia, Jiang Wen's mentor, and his works are full of noise and humor. By the way, Fellini and Kusturica, on the set of the two, have been described as a circus.
The touch of watching a movie is related to personal experience. I don't think I grew up soaking in this buzz and humor. I tend to avoid noisy places. I feel the same way about Kusturica's works (I have also watched three of them: "Underground", "Song of the Wanderer", and "Life is a Miracle"), I know it's great, but I can't produce a strong emotional response,
Among the master directors who have similar feelings is the German Herzog. I can feel the weird and paranoid characters with strong vitality created by his influence, but I can't have a strong psychological identity. .
Herzog's films also have more noisy elements, such as "Dwarf Rogue", which is a circus of dwarfs.
But that doesn't mean I hate noise. Tony Garev's films, mainly to show the life of gypsies, usually sing and dance especially loudly. But I also like his films.
Relatively speaking, I like Angelopoulos, especially his "Landscape in the Mist", "The Beekeeper", "Eternal and One Day" and "The Wandering Entertainer". I like some of Wenders' films, "Under the Berlin Sky", "Alice in the City", Tarratar's "Whale Circus", "Satan Tango", Aki Kaurismaki's films ("Leninger") Le Cowboy's Beauty Story) "Ascension", "Lonely Shadow in Paradise", "I Hire a Professional Killer", "Women in the Match Factory"), American Jarmusch's films ("A Shadow in Paradise", "Broken Flower", "Different Souls") Guest", "Ghost Dog Killer", "Patterson")...Hey, what do I want to sum up? Perhaps I prefer a film that touches the softness and sadness of a person's heart in a relatively quiet image.
There are a few moments in Fellini's "The Great Road" that touch me. Those moments are similar to those of Anzhe's films that touched me.
What exactly am I looking for in a movie?
How can I expand my own image space?
Deleuze said that when a person paints, he does not paint on a white canvas, but on a pitch-black canvas on which countless predecessors have painted their own paintings. When a painter faces a canvas, his innovation lies in wiping off the black areas of his predecessors to reveal his own space. This is innovation.
The same goes for movies. Instead of exploring images on an empty screen, we want to open a hole in the place that was densely covered by the images of our predecessors.
What new possibilities does the film have?
In our era, on our land, what kind of image should be born in order to transform our breath into something else?
At the end of the year, there are more imaginations and prospects.
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