And Inas or her daughter is the typical image of ordinary people in such ups and downs times. They have no resistance when facing the wheels of history. They may slide in any direction with the promotion of the times. Life. It may be tragic madness (the pitiful Inas at the end of the film), it may be a momentary glory (Alyssa who clings to the ruling regime, Lorenzo when the rebellion succeeds), and more may be just a person who is in power The blinded fools (those who crowd and cheer at the gallows). They have unknowingly entered a role in the grand historical narrative, small and insignificant.
The style of the film reminds us of Yu Hua's novels—big backgrounds with splattered thick lines, ordinary but delicately depicted small characters. These little people have been ill-fated with the rolling tide of history, but in the end what condensed in their hearts is the most real love-for ordinary people, it is the love for family and friends, just like Inas in the film at the end A kiss condenses her love for Lorenzo from the beginning; for the artist, it is a broader sense of love or obsession, like the paintbrush that Goya never wants to put down.
(The above content is from the discussion assembly of the "Unicorn Movie Salon" event on April 17, 2010)
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