This film gave me the idea of doing film studies in the future.
The pipe organ is consistent throughout, and even the violin in the film makes a similar sound, and the whole film is very smooth and smooth; the mismatch between sound and image avoids linear causal narrative, leaving room for uncertainty; in outdoor scenes, The texture of sunlight is preserved...
Human consciousness has always been unreliable to reason. Memories float with consciousness, and there is no truth in the past. The world has never been an objective existence independent of consciousness, we live in perception. As the carrier of human existence, when memory is replaced, it is also the time when individual existence is overturned; history, as the totality of memory, is also an eternal thing of change... Human beings are the creation of a self-contained closed system of existence and consciousness.
The heroine's clothing changes randomly. Does the repetition of the hero distort the time and space, imprisoning this year's heroine in last year, or replacing last year's heroine with this year?
The movement of the camera is free and dream-like, which raises the question of space: Do people in the environment see themselves as objects? Do people dissolve into space?
The movements of the people in the background are small like puppets. Is it the exact situation in people's pictorial memory, or the reality under the rule of inhuman consciousness in the sound of church musical instruments?
Is the gloomy Frankenstein-like man who often appears next to the hero, the promoter of the plot, or the hero's objectified self? Is his drawing game to add an element of modernity, or does it have the same meaning about human destiny as the chess game in "The Seventh Seal"?
Such questions can never be raised, and perhaps this is what attracts me to the film - the defamiliarization of life that has been reduced to nothing.
Heidegger said, "Don't bother with the clutter of the mind, just pay attention to things and let them reveal themselves to you."
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