The first to appear in the picture is a close-up of tomato, which is the food that people rely on for a living, and also a portrayal of the daily life of monk Kerui in the retreat. At the same time, it is also the life-saving food of the Albanian girl who lived in exile. Seemingly ordinary shots, but also established the first part of the theme color red. The entire language chapter runs through the color aesthetics of "red and blue". And the red part has the tomato to symbolize the foundation of life, and the blood of the cat on the roof shot by the machine gun to face the killing, the red hair of an Albanian girl shows the enthusiasm of love, and the dark color of Kerui's pants at the end. Red comes to predict the tragic ending of events. We can say that the interpretation of these red elements is an over-explanation, but undoubtedly, color is also the most direct visual impact we encounter when facing the work, and it is also the keynote that remains when we recall the film after a long time. Therefore, every detail related to red, I think, is not accidental, but the result of the author's careful arrangement.
"Time does not pass, the circle is not fixed" is from the priest's mouth, and it is also the belief on which all the films are based. Whether it's the looping structure of the entire trilogy, or the many small details in the film, it's all about this. For example, after the priest finished this sentence, the next shot was a bird's-eye view of a circle of firewood, and no one knew that after a few shots, the firewood would ignite and the circle would turn to ashes. On the way, the priest found that the rainstorm was coming, and he was worried that the lightning would hit innocent people, and the next scene was the sound of a child holding a pistol to simulate war. The connection between the two is the wanton continuation of suffering. As for the speech part of the first chapter, we can boil it down to the confrontation between "blood debt and blood" and "love beyond language and religion". And blood debt and blood repayment is also a kind of cycle that the director tries to outline. Faced with the division of the country and the ruthlessness of war, people are living in hatred. Children are accustomed to indifference to life since childhood, which is contrasted with the cold-blooded killing of adults. Hatred does not break out, but grows and spreads in countless cycles. Blood debt is paid for by blood, and it is also the death of another soul caused by the loss of one life. It is a cruelty that we often take for granted. Over time, the seeds of hatred grow, like the depression before the storm, but it's too late when the storm hits.
"Looking at each other" is also a unique perspective of the film. The monk looks up at the religious picture, while the heaven looks down at the appearance of all living beings. The monks responded with pure faith and sustenance, like the clean and gentle lens of the camera, and when the gods overlooked the crowd, a group of children were immersed in the thrill of excitement. We also realized that we were as ignorant as the people in the picture. Cruel, there is a peculiar sense of the reader (us) being read. In addition, there are also people of different beliefs watching each other. Several seekers believe that they have beliefs, but their actions are cruel and cannot be directly looked at. This kind of watching, which is different from the perspective we used to look at, brings me a sense of reverence and solemnity, and at the same time, it is also a kind of scrutiny with consideration. Between the pitches, people are the smallest. When night comes, the whole mountain is covered with rich blue, and the walking of people is only a tiny point in the whole picture. At this time, the humbleness of people and the breadth of nature are clear at a glance. However, the person in the camera is almost walking against the sky, which is probably the state of unity between heaven and man achieved by the cultivation in the heart of the monk.
"Conflict" exists all the time, the strangeness of language, the crossing of religion, the gender gap, the separation of age, holiness and killing, childhood and adulthood, and even life and death in the end. The director also tried his best to show all of this in the editing of the camera. For example, the almost deadly silence of the monastery is followed by the expansion of the girl’s panicked emotions. The devout prayer is followed by the sound of fire and explosion. The biggest contrast is that Brother Corey uses a silent oath to resist the violence in the surrounding environment. Killing and ruthless. In the end, however, words are useless. Macedonian Kerui and Albanian girls tell everything with their eyes, which should be the purest expression from the bottom of my heart. Ke Rui's clear eyes are destined to be the most direct gaze in the whole article.
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