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The minutiae of parallel migration
Curtis 2022-03-24 09:02:26
The entire film is a linear narrative based on abortion, but the director has enough money for the prosecution of male confrontation, Ceausescu's regime, and social group fraud on this most simple and clear clue. The dank and chilling environment created by the dimly lit long shots, the shaking and impetuousness of a lot of follow-up shots, all casually create invisible depression and fear in this film without a soundtrack and without a lot of transitions. The limitations and powerlessness of individuals in society are further strengthened as women's limitations and powerlessness in the politically turbulent patriarchal society, and two role references with different personalities are given (two actresses). But whether it is soft or hard, they have become helpless cannon fodder in the hotbed of social evil. The abortion restriction order itself is a love for life, but it restricts people's freedom and becomes the evil result of people's loss of freedom for the sake of freedom. After all, in Romania in 1986, when the concept of class was deep, bureaucracy was prevalent, and the Berlin Wall had not yet collapsed, human rights and freedoms were clearly limited by the invisible manipulation of social prejudice and hierarchy, and it was easy to bow your head shyly. The details of the film are very meticulously done, which is reflected in the more restrained the shots, the more depressing they are. For example, the amazingly long shot of the heroine eating at her boyfriend's house may explain more than what is written in books, the social reality of Romania. It can be reflected through the so-called parental rhetoric, that it is not only the heroine who is suffocated and depressed at that moment, but also we who watch the heroine suffocate and depress. Another example is the heroine looking at the fetus laid down by her friend. The blankness of surprise and speechlessness makes people understand her terrified gasps as she traverses the streets and alleys. It is these parallel minutiae that make up the discreet charm of this Palme d'Or.
Extended Reading
4 Months, 3 Weeks and 2 Days quotes
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[first lines]
[subtitled version]
Otilia: OK.
Gabriela 'Gabita' Dragut: Thanks.
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Otilia: [subtitled version] We're never going to talk about this, okay?