What kind of game is this woman Chitilova playing? Those thinkers who pondered the end of the film finally saw their tragic fate of being laughed at after a loud bang. Yes, you've been tricked, this movie is an incredibly gorgeous visual game.
Time.com once listed this film as one of the 20th century heavenly movies, which is undoubtedly telling people how difficult it is to understand it. But from another angle, everything that the film wants to express has been clearly revealed at the beginning of the film-"Since the world is already so bad, why don't we make it worse." The declaration of the sisters opened the film's The curtain, and this rant is more like Chitilova's rhetoric.
It can be said that from the beginning to the end, the film is constantly showing the sabotage activities of the two sisters on the screen. Each of their actions is a kind of subversion, structure, and destruction. However, this is called "bad" by themselves. The performances of her works have a captivating charm, but just from a visual point of view, they are full of alternative beauty, but behind the performance art on the screen is the madness of Chitilova Dadaism. She has already visually conquered all audiences before she has grasped the spiritual meaning of the film. Chitilova used a variety of color filters in the film, purple, orange, blue, red, gray... And almost every shot cut and edited a filter of a different color, she seems to think This is not exciting and bold enough. In some single shots, she is also trying to transition and transform the color of the filter. The result of this is that the film creates a visually dreamlike effect. A beautiful woman with a bold behavior, accompanied by the changing colors behind her, makes people feel as if they are in a country of rainbows. The costume design in the film is another highlight, especially the bikinis of the two sisters, which are designed with a large number of straight lines, square patterns and lines, combined with bright and eye-catching colors, reminiscent of Kandinsky's art works. Thoughts such as using the tablecloth as a white evening dress, and taking off the top, pulling the petticoat to the chest and turning it into a tube top dress, make people wonder if the woman is still a costume designer. At the end of the film, the sisters finally die The newspapers were designed far beyond the twentieth century. As long as you pay attention carefully, the highlights of the visual part of the film seem to be tapped at any time and anywhere. For example, the sisters' room is full of collages and graffiti drawn by hand, and the lens is distorted to express the speed of the train. The sisters use scissors to cut each other's bodies during the fight, and finally cut them into one piece. Pieces together. The picture, such a magical stroke, best shows the director's extraordinary imagination.
But is the meaning of this film really only technical or visual? Of course, interpreting it in the same way as a traditional big-plot or mini-plot movie doesn't work at all, because it's antiplot or even no plot at all. The form and structure of a film is its content, its meaning, while its form is formlessness, its structure is anti-structure. It is not enough to pay homage to contemporary art only visually. Only by embodying the core spirit of contemporary art minimalism can the film's splendor be reflected. As the two sisters said while frolicking on the boat, "We don't want anything else, we just want to be different, we're young, we don't want to follow the rules." The sisters are indeed teaching this "evil" Going forward, they use their beauty to deceive every man who wants to date them, and then occupy their bodies, they cut eggs, sausages, bananas to express their disdain for men, any morality, dogma, belief For them, they do not exist, "evil" - pleasure, indulgence, destruction... All derogatory concepts in the traditional sense are the source of their vitality. This power makes those who are bound by certain rules envied, but at the same time deeply attracted by it. In the climax of the film, the two sisters sneak into a hall, playfully play at a luxurious dinner party, squandering the beauty that ordinary people see out of reach, this desperate and crazy destruction seems to make Man sees a certain vitality of life.
Although Chitilova was classified as a member of the Czech New Wave movement in the 1960s, her masterpiece is far from the new wave movies in those impressions. Maybe she is tired of allegorical narration. The irony of political innuendo, since you can't speak directly, why not let it be free and easy, and be unrestrained and unrestrained once? However, how difficult it is to completely deviate from that era, so people are able to see the shackles and warning signs in the film constantly, these terrifying images, together with the unrestrained form of the whole film, link these together. Zitilova's subtext is self-evident:
art doesn't need rules.
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