"Son of Sol" is a seemingly uninhibited and heavy work, but it is a huge test-taking work in its heart. It seems to be "not to be tried": one is a Hungarian production (a minority in the European elite film culture), and the other is a directorial debut (a lot of praise from the jury award from Cannes). But after watching the film, I really feel that this is a film under the proposition of the 70th anniversary of anti-fascism, which is particularly thoughtless but can arouse the sympathy of the majority of filmmakers (especially the Jews who rule Hollywood).
The story of Son of Thor is very simple. Sol is in a concentration camp that makes people pee every second, and is responsible for transporting dead bodies from gas chambers. One day he found a dead child and believed that it was his son. Thor began his journey as a teammate in the big death pit, desperately looking for Rabbi (I don't know what this is, it's a Jewish position anyway) to bury dead children. But the teammates wanted to escape, so Sol carried his dead "son" and fled with the resistance team. The man who called himself Rabbi was still a liar, but the burial was unsuccessful. Metaphor/Illusion) looked at Sol and his teammates who were hiding in the wooden house (they didn't see the "new son" by accident), Sol smiled calmly. The fascists found this group of people, shot them, and the play ended.
Although Hollywood storytelling is not the only technique for film creation, emphasizing character motives at all times is a principle that creators should follow under any creative system. Son of Saul brings together all the elements of "winning" and "high-scoring": World War II, religion, endless short-focus photography, enigmatic, retrograde metaphors. But the biggest failure of the film is that Sol has no motive no matter how he looks at it. Thor, like a lunatic, insists that the dead child is his son with the heart of "waiting for Godot". Teammates tried to persuade Sol to take care of yourself, you don't have children, but he ignored him with a blank expression. I wonder why this is not Sol's first day in a concentration camp. He transports dead bodies every day. Why does he start to be a father when he sees a dead boy? There is a line in the lines, "There was a girl before, who didn't die (after the gas chamber)" (the boy was decisively strangled by the doctor after being found dead, and Sol was watching and doing nothing at the moment). Even if the boy is a little strong in the gas chamber world, Sol has no motive to be a father. And he watched the doctor strangle the boy who didn't die, and he only cared about finding a Rabbi to bury his "son" (rather than prescribing medicine for the doctor or something). I understand that the director's arrangement is a "very right" setting: Saul knows that he will literally not live long in the concentration camp as well as death, and he has to give his last goodwill before he dies. It sounds like all the motives are there - Thor's paranoid doing good in purgatory on earth. But you're making fun of me, director - no matter how you glorify and interpret Sol's behavior, he is a person with no reason and no motivation after all. Just like the inexplicable white horse in "Fireworks in the Day", the various red faces dedicated to 007, and Jia Zhangke in each film, the film looks at humanity from a higher place on the surface, but when you think about it, it's all symbolic , The logically unreasonable "one moment sees ten thousand years". Ang Lee's "Lust and Caution" took more than two hours to pave the way for Wang Jiazhi, who knew that this would be a big death and righteousness, and said to Mr. Yi "go away" at the jewelry store; all kinds of growing pains in "Fish Tank" are also waiting for the hidden marriage scumbag in the play The outburst of Michael Fassbender's slap to the heroine. From the very beginning, Sol was blindly regarded as a "head down", and the whole film revolves around a major premise that does not hold. Such works have been affirmed in various ways. Isn't it because "the elements are complete and the style is high enough" in line with the film industry. "Exam Standards"?
As for whether it insulted the audience's IQ, I rolled my eyes to the sky, not to mention the level of "can it impress people". However, the 70th anniversary of the victory of the world's anti-French victory, a film with such an independent appearance, no main theme line, and a slogan of "human nature", you have to say that it is not good or not like it.
But I just don't like it, you bite me.
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