. So I chose such a long title as the title.
I've seen some of Kim Ki-duk's films but I've never had such a deep feeling.
Ann is a Kim Ki-duk fan, she used to tell me you should fall in love with Kim Ki-duk. But why not? Weird.
After parting, she sent me a package with some discs in it, and "Chun" was one of them, but I never had time to watch it, so I had to stack these discs in a corner of the cupboard. Ann and I don't talk much, and usually when I say she listens, she doesn't give me any advice. Just diligently sharing some things for me, maybe it is the reason why she is a Virgo. After watching "Spring", I went to look through the discs that Ann gave me, but the scattered discs showed that she was putting all her heart into it. I think she understands me. Before I start I think I need to thank Ann for bringing me this video at this special time.
The whole movie is solid and the picture is beautiful. The filming has always revolved around a few scenes and characters, and the few dialogues are extremely deep and powerful. is my style. Watching the whole film is like listening to a Buddhist lesson, you don't need to think a lot, the shallots and tofu are just in front of you, you just need to digest it slowly.
Some of the scene characters in the film impressed me a lot, some feelings, some don’t understand, I would like to share with you
about the boat
is a central prop that runs through the evidence. The boat should be a tool for crossing people, but at first I always didn’t understand why the little monk sailed. After leaving the only boat in the temple, the old monk can still cross the river. It was not until the end of the play that the old monk summoned the boat back with his mind and was on the boat before he understood that the boat was not only ferrying people but also himself. When the middle-aged monk returned to the temple after his release, the boat was gone, but the frozen river was enough for people to walk on both sides. I don’t know if after self-repair is complete, abandoning formal tools can still save others. And Du Ji has turned into that idea in his heart.
About the invisible wall
It is an independent door, erected in the meditation room and bedroom, next to the quiet and solemn Buddha statue. There are no walls or railings around it, and there are no substantial constraints on the situation. However, every day, the little monks go in and out through this door. I wondered if that was a form of meditation as well. Until the arrival of Xia, desire broke the peace of mind and broke through this invisible wall, what is the door, and where does the wall exist. The wall is morality, reason, or resting desire, and it is the code of conduct that has always existed in the hearts of noble people. A wall that does not exist can be crossed over and over again, ignored again and again, it will not be bound or condemned. However, there are all kinds of behaviors after crossing the wall, whether you can bear those consequences, and whether those endings can be sorted out. How can an empty wall that is easy to pass through, after the prosperity subsides, finally be able to subdue the manic inner demon.
How many behaviors in life are unregulated, and how many temptations can the benchmark of the human heart resist. The old monk never gave the younger monk any answer, everything lies in self-exploration and acquisition. In life, only Zen can be practiced by oneself.
Regarding the rooster
, when the rooster shot appeared in the camera, I was puzzled again, why the peaceful temple arranged for poultry to appear, and later when the little monk committed sex and reincarnation, he took the Buddha statue and took the chicken with him. I wonder if the chicken also heralds a desire that can never be escaped, and is a little involved in the mundane world, so the chicken was finally taken away from the temple by the little monk who returned to the secular world.
About the masked woman
At the end of the play, the masked woman came to the temple with her child to meet the little monk who had completed self-repair. The camera swept over the veil that the woman wanted to lift, but it was not enough, and the little monk wanted to explore the truth.
The layer of veil was not lifted, and the woman fell into the ice and turned into a Buddha statue. I thought that maybe the woman has something to do with the little monk and will bring another small orgasm after the veil is lifted, but I found that my thinking is very narrow. I don't know if Jin Dao always puts women in a contradictory position of evil and holiness. Women are the source of desire, violent crime. I wonder if only a woman with a veil can coexist on the same level with a fully restored little monk without being defiled and holy. The final incarnation of the Buddha image indicates that there are Buddha images on the human body and the face is just a false appearance.
About snakes
There are many scenes of snakes in the film. Xia, the little monk saw two lingering snakes through the woods, which made his peaceful heart ripple. to commit lust. The snake is a symbol of sex, temptation and sin. It's just that when the old monk was in Nirvana, the golden snake appeared, and at the end of the play the snake hovered on the top of the lotus flower, which puzzled me again. Looking through a lot of information, it seems that the snake is always a very negative image. Is that another expression of the director's helplessness, in order to explain that there will be evil in people, and the holiness can never be separated from the shroud of darkness. So all the time we have to repair ourselves.
At the end of the spring, reincarnation is here, and the little monk attached the stone to the little fish and frog again, and this time, none of them were spared. I don't know if this ending can see the snake phase above the commentary.
After reading about it, I
learned about some stones and took on some stones.
When the old monk said to the young monk: Go and rescue those animals that you have bound to stones. If they die because of you, you will always carry a stone in your heart.
Uncontrollably shivered.
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