At the beginning of the film, there is no music, no monologue, the plot is like a forced insertion, Ortilita and her college roommate Gabita, just like the end, occupy the screen from left to right, and several groups penetrate the scene. The powerful long shot brings the atmosphere of the whole film into an overwhelming sense of oppression, without the slightest intention to breathe. This woman with words and deeds climbs on the bus, meets her boyfriend, and then puts her brave Throwing into the tragic torrent of times and society. I cried and took off my shoes. In the dead silence, I dragged my bloody lower body into the bathroom, which made me inadvertently travel back to the 12-year-old Ulla in "Landscape in the Fog", which made me twitch. In the scenes of the film, the director is too cruel, but Andre Bazin, the father of the new wave, said that the director should go back to the background, even leave the camera, even abandon the montage, and abandon all the techniques that deliberately destroy the integrity of the picture and the lens. Director Christian Mongy was deeply affected, so with that damn classic "dinner" long shot, Ortilitta was like being crucified as she endured her boyfriend's parents and their relatives and friends, while the embarrassed boyfriend Being placed after Ortilitta is like a position in the whole movie: a dilemma, so when Ortilitta throws Gabita's question at him, he's at a loss, and Ortilitta is like Being bullied by the doctor is as strong as she is, walking through the night in the damn long shot, except for crying on the bus, her heart, her footsteps, her back, and her courage are all so sharp and persistent , just like being stalked by the camera and unable to escape.
I want to deliberately pay attention to observe the Romanian society in 1987, but director Christian Mongi seems to be aware of all this. He also deliberately conceals the influence of the times on the film. After all, this film is strictly characterized as one. An elegy for the era of women, so Mungi drives Ortilitta to stop her. The darkest shot is from the four-month-three-week-and-two-day-old baby. The picture is directly aimed at the reason for this story, without any reservations, as clear as the blood on the lower body hair of Ortilita. Ortilitta threw out countless tears, pain, grievance and despair like the contents of the bag that was going to hold the dead baby, replaced it with this dead life, and then walked through the night again, in the dead. Breathing, running, and turning his head under the camera of the dead follower... They are exposed in the picture like being cut open by a scalpel. A great movie will always have a great ending. Lita and Gabita, the night outside the window, three layers of pictures are superimposed here, Ottilita and Gabita are around each other, it seems that everything is just nothingness flying through the sky, it seems that everything starts from this picture. , Ortilitta looked straight at the camera for the first time with a blank face, maybe it was the night outside the window, maybe it was you and me staring at the picture, maybe it was this fucking reality.
From the shady scene, forcibly inserted and forcibly extracted, this film uses the realism like a scalpel without breathing space to put the era, society, women, and human nature into the long stream of history. Untouchable and avoidable...
stand up, applaud, salute!
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