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

Clouds of Sils Maria quotes

  • Maria Enders: Jo-Ann?

    Jo-Ann Ellis: What's up?

    Maria Enders: I wanted to ask you. You know the scene at the beginning of Act 3 when you tell me you want to leave and I get on my knees and I beg you to stay? You're on the phone ordering pepperoncini pizza for your coworkers in accounting. You leave without looking at me. As if I didn't exist. If you could pause for a second. Helena's distress would last longer when she's left alone in her office. Well, the way you're playing it, the audience follows you out but instantly forgets about her. So...

    Jo-Ann Ellis: So? So what?

    Maria Enders: When, when I played Sigrid I held it longer. I thought it was more powerful. Erotically. I mean, it really played well.

    Jo-Ann Ellis: No one gives a fuck about Helena at that point, do they? I'm sorry, it's pretty clear to me that this woman is all washed up. I mean, your character, Maria, not you. And when Sigrid leaves Helena's office, Helena's a wreck, and we get it. You know, it's time to move on. I think they want what comes next.

    Maria Enders: If you just held it a few seconds longer.

    Jo-Ann Ellis: It doesn't really feel right for me, Maria.

    Maria Enders: You're right. Yeah. I - I - I think I'm - I'm lost in my memories. You think you've forgotten your old habits, but their all - they all come back. Have to break them.

    Jo-Ann Ellis: I guess you do!

  • Piers Roaldson: [Piers proposes new movie mutant role for Maria] I'm trying to consider genetics from a more human point of view.

    Maria Enders: When I was reading it, I imagined someone much younger. Maybe me younger, actually, but you were seeing me in movies that were made years ago. I - I've changed.

    Piers Roaldson: She has no age. Or else, she's every age at once. Like all of us.

    Maria Enders: Can I be frank? Maybe it's because I'm working with her, but as I was reading it, I - I kept thinking about Jo-Ann.

    Piers Roaldson: Yeah, well personally, I never think about Jo-Ann Ellis.

    Maria Enders: You're wrong. She's smart. And talented. She's modern, just like your character.

    Piers Roaldson: My character isn't modern. Not in that way, anyway. She's, outside of time.

    Maria Enders: Outside of time. I don't understand. It's too abstract for me. It's all right.

    Piers Roaldson: I - I don't like this era.

    Maria Enders: You're wrong. It's yours!

    Piers Roaldson: Amen! I didn't choose it.

    Maria Enders: [laughs]

    Piers Roaldson: And if my era is Jo-Ann Ellis and viral Internet scandals I think I'm entitled to feel unrelated, aren't I. I mean, it's nothing against her, I guess I just assumed you'd understand.