authenticity and drama

Blaze 2022-03-24 09:03:16

April 26, 2021

I read Baudrillard's essays today and just found out that sils maria is where Nietzsche once lived

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The movie is very self-mapping. After sorting out the ideas, in addition to the interpretation and interpretation mentioned by everyone, I think the film also discusses the authenticity. This is a topic I'm more interested in. Several mentions, such as "it is dramatic , but sometimes is more real than then real..." (to the effect). There are also heroines who are very critical of the Internet era, but don't care about anything, don't know about anyone in the circle, and are blocked in their own world. When she didn't know who the assistant was talking about, the assistant said: "their world has a name, its called the real. welcome..." So, when Valentine disappeared. For the first few minutes, I thought she would come back, but later I found that the director had no inclination to explain, but felt that this was the best way. After reading it, I think that in fact, there is a part of Valentine, which can be regarded as another narrative. It's an air tight, self-enclosed script arrangement like Valentine's never been here. Then cut off the character, and continue with the plot that should continue. And such a seemingly abrupt arrangement is actually a parallel arrangement of reality and drama. Although I don't know which part of the plot is real or dramatic, the script in the film also has two types. nature. In the final film, the director Klaus added a few new pages of script based on the interpretation of the original work, which shows this juxtaposition of reality and drama. Of course, the heroine finally let go, no matter which script or plot, it's all plot, all stories, all real, and all dramatic. In the film, the very stylized Swiss landscape + classical music soundtrack is interspersed in the film from time to time, as a dramatic stylized foil, with the main story line. It is very suitable. Another point is that the director of this film very ambitiously threw the problem of words and images into the film. The heroine has been discussing the text and lines of the script with her assistant Valentine, and at the same time, when she needs to get to know a real-world person, she can only google their photos. This is also very interesting.

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Extended Reading
  • Chaim 2022-03-28 09:01:09

    The structure of the script is excellent. It has the classical tradition of European literary films, and it does not reject the present and try to conform to it; the relationships and issues discussed are complex, but the filming is very clever, and it kneels down to Binoche's acting skills every minute. In addition, watching Maloya's Snake on the big screen is very shocking and transcends the existence of time.

  • Amparo 2022-03-26 09:01:11

    Spring Film Festival 2020 Commemorative Badge get!

Clouds of Sils Maria quotes

  • Christopher Giles: Tastes can get worn out, kind of like desire.

  • Maria Enders: [Referring to the proposed role of Helena] Time's gone by and she can't accept it. Me neither, I guess.

    Klaus Diesterweg: There is no antagonism. It's the attraction of two women with the same wound. Sigrid and Helena are one and the same person. One and the same person. That's what the play's about. And because you were Sigrid, only you can be Helena now.

    Maria Enders: How can you be so sure?

    Klaus Diesterweg: You know as well as I do that Wilhelm Melchior had been working on a sequel for years.

    Maria Enders: Yes. But it was about Sigrid at 40 years old.

    Klaus Diesterweg: No, it was about Sigrid 20 years later became Helena.

    Maria Enders: So who's going to play Sigrid?

    Klaus Diesterweg: Jo-Ann Ellis. She did a superhero movie that just opened in the States.

    Maria Enders: And besides that?

    Klaus Diesterweg: Not much. She's 19. She's a lot more interesting that her interviews and profiles. She has a theatrical background. She doesn't want to be swallowed up by Hollywood. She admires you and is willing to pull out of her other commitments.

    Maria Enders: I'll listen carefully. But to be honest, the role scares me. Helena scares me. I'm in the middle of a divorce. I feel alone, and vulnerable. Probably too vulnerable to do this.

    Klaus Diesterweg: If you refuse, I'll understand, but it will be a missed opportunity, especially for Wilhelm.

    Maria Enders: I should get going.

    Klaus Diesterweg: Excuse me, but I won't be staying for dinner. Good evening madam.

    Maria Enders: Klaus, I have another reason. Susan Rosenberg. She played Helena with me.

    Klaus Diesterweg: I remember Susan Rosenberg.

    Maria Enders: She died in a car accident a year after. It's a superstition; I've always associated her death with Helena's suicide.

    Klaus Diesterweg: She was a lousy actress who didn't understand a thing about the role. And her conventional style of acting highlighted the modernity of your performance. You should be grateful to her.