But I don't like it very much.
First of all, I don't like the director's style. In fact, I wanted to spray him for a long time, but I couldn't get the chance. His films have always been ruthless and precise control, which is very consistent with his previous themes, especially "White Ribbon". He treats the characters in the movie as "objects", as objects of dissection and analysis. He is like a surgeon. The patient under the scalpel is not a person, but a disease.
But this movie, called "Love", is under the guise of emotion, but it is cold in the bones. It is his usual calm thinking and indifference to human nature.
Some people say it's fine. For most of his films, I think it's okay to use this trick, but for this film with only one main scene and two actors and a strong emphasis on characters, this kind of ruthlessness has resulted in a step-by-step bluntness, and people's unreasonableness. Normalization is more serious and becomes a procedure: a procedure towards death. (Spoilers below)
This movie is full of "negative energy". All the plot of the film, and the arrangement of all the spaces, are carefully designed to be a falling trend. Every character's visit—whether it's a student, a daughter, or a carer—has fueled the old lady's death. The presentation of each space is developing towards closure and solidification - the outdoor at the beginning to the whole interior at the back, the water sound effect inside to the nightmare, and even a series of static empty mirrors have changed from the interior of the home to a rigid and gloomy oil painting... ...
too precise, too precise, without any random, open breath of life, the director is like a grim reaper, turning the room into a coffin bit by bit with planks and nails. We don't see the old man having any way of life other than caring for the sick, and we don't see the old lady's mentality other than going to death - the dead are all TMs and have a return to light, but Haneke doesn't have it here. It is such an icy road leading to death. Any obstacle in the way was removed by him.
Including the last paragraph, which I really disliked, was the head-pressing pillow. It seemed that someone who loved you deeply gave you the final release, but the release was brutishly wishful thinking, more like the product of a dramatic conflict - Haneke The inertia of sudden violence that is best at. If you truly love someone, you need to free her. There can be a way to make the other person leave more peacefully. I don't think this impulsive behavior expresses love, but this part expresses selfishness-long sickness without a filial son, relatives and friends who have long-term relationship. The patient's will understand this feeling. The most difficult thing is to always consider the other party, not to free yourself. This is a bit deviating from the movie, but it can still explain one point in general: the director's control of the entire character has reached an overly deliberate level, and he is not focusing on real people, but abstract dilemmas. Simply put, it's a high-end coercion.
This point has penetrated into the bones of his films. Some stories are very suitable for this kind of coldness and indifference, but I think this story, told in this way, plays a more "novel" role. In fact, the incident itself is not so surprising that it can't make the headlines of social news, but because Haneke extended this period of time, it has a bewitching effect on people's hearts, which is exactly what Haneke's terrible place. He looks calm, but it does not mean objectivity. On the contrary, he is a director who is not objective and not lacking in extremes, and is also one of the most ruthless directors on the planet. Even after playing in an old man's fantasy space, there was a hint of warmth, but the last scene had to be when the daughter returned to the real room and sat alone in the door frame. In fact, do you say that the film language of this film is awesome? No, it just continues the style of one scene and one mirror, and the space scheduling is not new, it is not as good as a piano teacher or a white ribbon. But his cold attitude made everyone respect it, and then looked at its content.
But Haneke is definitely a first-class director, and he didn't pick in every aspect, which is why this film made me so uncomfortable. Obviously it is very "human" content, love and death, and then the two actors are so devoted and dedicated - the nudity of the old lady is shocking. But essentially, the film gave me a cold inhuman feeling. When the masters do evil, the rogues can't stop them.
When it comes to similar themes, I like Mike Lee who is equally cold, and Yamada Yoji who is hot, of course. The films of these two are at least rich in emotion and emotion, the space is open, and there are real people's feelings and changes, unlike Haneke who conducts a human emotion experiment to surprise you.
If Haneke and Li An meet in a narrow way, only one of them can survive. Who will survive in the end? ——This is really hard to say, hard to say, I feel that Li An is a little overwhelmed...
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