If you don't want to watch the Spring Festival Gala in the bath center, let's just randomly write a New Year's Day number.
I didn't expect that my New Year's Eve film would be an anti-Kerbian Serbian film "Dara from Jasenovac". As early as the beginning of this year, Gu Bingjing, a friend who used to be in charge of high-tech bird repelling work at Amsterdam Schiphol Airport, sent a resource, saying that it was the subtitles he listened to and translated, and let me read and comment. Helpless, I promised Bomi at that time to be a live broadcast of his villain's 2021 foreign language film review, and I was busy with last year's important resource films, and it fell. Afterwards, I obsessively read the content on the computer first, and dragged it off until New Year's Eve.
Before the Spring Festival Gala and the noisy New Year's Eve, it is really not festive to have a heavy concentration camp theme. Of course, the New Year’s odor that is washed away by the virus does not need to be festive, especially for me, who is too lazy to have a sense of ritual every day. New Year’s Eve and New Year’s Day are not just the ordinary days invented by carbon-based creatures, and the winter three days later. The opening of the Olympic Games, the disobedience and dissuasion of the previous few weeks to return home maliciously, the whistle blowing of Li Wenliang at the end of 2019, and the hot day of August 20, 1941 in the small village on the Sava River in the Balkans are all the same, a mediocre day of the earth's rotation. .
However, carbon-based creatures always need some sort of ritual to mark a day, with joy, celebration or pain and loss.
The movie "Dara from Jasenovac" has no date in the title that includes place and person names, and August 20, 1941 is just a casual remark by me. However, the village of Jasenovac, located in Sisak-Moslavina County, Croatia, was indeed officially used as a concentration camp by the far-right Nazi organization Ustasha during World War II since August 1941. and executions of Jews, Gypsies and Serbs. The history of the three ethnic groups of Serbia, Croatia, and Muslims dividing and combining, fighting and killing, it is normal for a film to describe the crimes of Usta Sallei in World War II from the perspective of Serbia. This concentration camp was the largest of the more than 30 concentration camps in Croatia during World War II, and it quickly learned to catch up with the "examples" of the German Nazis and developed into the third largest concentration camp in Europe.
Dara, one of the protagonists of the film's story, is a 10-year-old girl who is captured in another small concentration camp on the Sava River. The other protagonist is her father, who is imprisoned in Jasenovac. In a conversation in a concentration camp dormitory, I learned through the subtitles made by a friend that Stara Gradište, who was converted from a flour mill and detained women and children, was not far from the concentration camp Jasenovac. far, along the lower reaches of the Sava River 30 kilometers. I searched Wikipedia for a while and couldn't find the place name Stara Gradište. There are many villages and towns named Gradište, but they are all in Serbia in the distance. There is a Gradište in Croatia, but it is also near Vukovar 170 kilometers away, and Check out the converted flour mills operated by Ustasha, which are also located nearby. Gu, who makes letters, is a rigorous historical researcher, and the Stara Gradiska that appears in the movie may just be the name of a historical village.
In this "Dara from Jasenovac", the story structure is relatively complete, and the drama style is also used ingeniously. According to a reasonable narrative rhythm, batches of executed Serb civilians are sent to the depths of the white snow. The train car at the place, perhaps that is the road to heaven. As the inscription "Luke 20:38" at the end of the film says, "For God is not the God of the dead, but the God of the living. For with him all are alive."
Under the stylized goodwill of giving the victims a way out, there is also a reasonable rhythm of the step-by-step loss of dignity and human rights in line with the rhythm of death. At the beginning of the story, the captured civilians were still able to walk in line in the field and talk in whispers, and when they arrived at the flour mill register, they were executed for hiding jewelry in their headscarves. Gradually, death became Ustasha's game. The "toys" who were entertaining at dinner were executed if they didn't get a seat; the mother and son didn't want to separate, but they were executed because they had no way to go; the Red Cross wanted to check, they were put into the dungeon, and they were all executed. The methods of torture also represented those recorded in historical sources: a semi-circular serrated dagger mounted on the wrist to rapidly slit the victim's throat; and, less brutally but effectively, machine-gun executions.
But to say this is the Balkan version of Schindler's List, I disagree. First of all, the movie only presents cruelty, and does not give a god of salvation in order to balance the plot and development contradictions. In this way, there must be a more real sense of despair, but it is also more difficult to deal with the fate of the protagonist because there is no reference to the rescuer of traditional dramas. The light of hope is not absent, but from the perspective of an already omniscient audience, it may instead breed a psychological change from sympathy to irritability and hatred for the protagonist's father and daughter. Why should the other detainees in the two concentration camps have to serve them both dream of reunion, and pay the price of life again and again?
From Yasenovac, which was brutally ruled by Ustasha 80 years ago, to Vukovar, which was fought over in the disintegration of the civil war 30 years ago, to the hometown of Prajak, the Croat general who committed suicide in The Hague more than 4 years ago. Prina, history keeps repeating itself. Although it is far from being so tragic, it is still a ray of hope in the sky of despair. Fortunately, the haze of history is no longer so heavy, and the money scene of the European Union is the light. The smooth road, in the community, people are alive.
Almost had to leave the bath center to go home, it is said that there is hail outside. However, I remembered last year on the evening of October 16th, at the midnight show at the Xiaocheng Spring Cinema in Pingyao Film Palace. Before the screening of "Goodbye, Paradise", my mobile phone rang. On the other side of the ocean, a voice trembled and cried to me, "I want to go home, I must come back for the Spring Festival." Fortunately, that voice did it.
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