Maria, who is over forty years old, is at the peak of her acting career and will play the famous "Snake of Maloya" after 20 years. Only this time, she is no longer playing the young and bewitching subordinate Sigrid, but the female boss Helena who was forced into a desperate situation. The film is divided into three acts of text and self-mirroring dialogues, derived from the location of Sils Maria, who wrote such magnificent philosophical masterpieces as "Thus Spoke Château d'Or" written by Nietzsche during his lifetime.
If the character relationship and background laying in the first act is the projection of the people in the play twenty years later in the present reality, then the second act is through an absolute dialogue inside and outside the play, trying to erase all boundaries and openly It shows the troubles of women who can never live in peace under the passage of time. In addition to loss and self-awareness, the characters' self-reconciliation is finally achieved through the superimposed narrative of multiple sub-lines in the third act.
It's all about yourself. Twenty years later, Sigrid had already transformed into Helena who thought she killed herself. The difference in essence is that Sigrid, who has lived in his heart for many years, is sensitive and proud in his heart, but the appearance of Helena appears to be more frustrated and brave in reality. The representation of this pair of intentions is highly consistent with the antagonism of dramatic reality. Valentina, or Joanna, is not only Sigrid twenty years ago, but a future that refuses to show the past twenty years later. The departure of Mirror 1 directly transfers the multi-dimensional balance between Mirror 2 and 3, from past to future, from drama to reality.
The film continues to focus on Sils Maria in the Alps, a residence that is a metaphor for self-difficulty from its name. The Maloya Pass is a place where clouds and snakes meander, implying the eternity and irreversibility of the passage of time. The layers of tension built in and out of the play, as well as the peaceful oriental Zen in the last years, cannot but be called self-comfort in the fusion of the East and the West. Fortunately, religion is completely absent.
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