Just an afterthought. Alice's plot, only one sentence. The story of an uncle who looks calm and anxious and brings a precocious little loli who is super cute to find his family. Huh, that sounds like a complete twist. To be honest, this is the best in the road trilogy, followed by Kings of road. Another name, In the course of time. Rudiger was wearing a pair of ripped bibs in the vacuum. He saw Hanns's car blowing up in the rearview mirror of his ragged truck. The car was bubbling and sinking, watching Hanns paddling slowly towards shore with the suitcase on top of his head. You will feel that the slow flow in the fluffy sunlight is time. And astray, when Wenders tries to depict too many objects, since these people still exist to portray the protagonist, he will create some strange people, quite unclear motives, either illogical or soulless. ──────────────────────────── (Okay, I have to say that I didn’t understand that there is an original work in the wrong way──2011. 08) Wenders' road films are all road films through and through, inheriting the motif of their genre films—the search for uncertainty. In contrast, trips that have a clear purpose, or are part of an event, deviate from the original intent of a road film. Alice speaks out about the communication barrier to a certain extent by using the language barrier, and there seems to be no such problem in the astral— Wilhelm can freely use social contracts and even control relationships with other people, but he and the people he can talk to are more of a feeling of manipulate, or talk to himself, seemingly the same theme but in fact more and more. The farther you talk, the more distant there is no intimacy, but the more natural the body language of the girl who doesn't speak. This is the second layer of communication barriers, communicating but not being understood. Although the two people in Road finally understood each other, they finally parted ways. Comprehension is also based on physicality (the two scuffled in an abandoned house), so I think Wenders, at least subconsciously, still feels that physical communication is more effective than expression. And what Bruno said at the end, unable to feel involved, gradually evolved into the ending of the male protagonist in Paris, Texas, and some people just can't connect with others. Alice and Paris, Texas, two films, it is not difficult to find many similarities. For example, it may be meaningless to search for relatives whose existence cannot even be determined, such as the collision of the logic of adults with too many self-protection mechanisms and the simple and direct thinking circuits expressed through the mouths of children. For example, the protagonist uses this to redeem himself. In the film, director Wen told himself through the mouth of a woman that without a sense of self-identity, he lost contact with the world. The woman's room is filled with plants, and she is one of countless realities in the world. She said, you can't stay tonight because I can't help you. She refuses to let him find reality in her because she doesn't agree with calling a person's connection to other separate individuals a reality. Philip said, I was always anxious while waiting for the film to develop, I was always comparing the photo to the reality, and the photo never caught up with the reality. In the end, he finally found the reality in the photos and ended the wandering. What puzzled me is whether this comparison will end there. Or in the end, he just realized the meaninglessness of his search in a dialogue with a certain policeman, and since then he is willing to follow the crowd. Wenders is always concerned with the pursuit of identity, Alice, Paris, Texas or wings. The protagonists either don't fit in with people, they don't know how to fit in with people, or they aren't human at all. When they look at the world from the outside, the so-called lack of identity means cursing at the songs on the radio whose endings are cut off before the end of the movie, or throwing off the TV when the commercials start to play late at night before the end of the movie. A country with such media is disgusting but can't get away with a single blow. Identity is the place called Paris, and Damiel's pure excitement when he puts his blood-stained finger in his mouth. It felt as though Wenders was struggling with his own identification with American culture, though not as pronounced as it would later be in Paris, Texas. He is learning American While grappling with the commercial depravity of her culture, Alice remains a quintessentially European film, if not a quintessentially German one. As an aside, as Wenders' male protagonist, Rudiger is really a reassuring man. Philip is a bit of a '60s outfit, with a scruffy shirt and flared trousers. The textured blond can be seen on black and white film. The corners of the eyes are slightly drooping, gentle, dull, and calm, all of which are in the middle of the cuteness, but unfortunately they have been acting on TV since then. Yella Rottländer, as a superb loli, is also completely impeccable. Quirky elf, empathetic, precocious, and stubborn. The kid seems to have gone behind the scenes and made a small appearance as Rudiger's angel in '93 In weiter Ferne, so nah. Finally, the Polaroid SX-70. (Started - 2017.08) PS, for some people's high evaluation of the music with the rain, I just want to say, give me a radiohead, I can also make the soundtrack into Chen Yingying. But Wenders is different.
View more about Alice in the Cities reviews
