Every family in a village, they act like a play, perform life. The lens itself will give people a sense of distance (such as the voice that continues to speak out of the still picture), and many commercial films and drool TV dramas are trying to narrow this distance and create another reality that is parallel to reality. Bela Tarr, on the other hand, just highlights the distance, like hiding behind the camera and taking a telescope. Humanity is real, life is fake. The dialogue is real, the dialogue is fake. Each speaks its own words, and each has its own world. The hustle and bustle in the tavern turned into a theater for self-entertainment, huddled together harmoniously but separately. Free and not free, you stretch out your arms happily, a graceful dance move may knock off the bread on other people's heads; his walking with bread will affect the dancer's pace. The sense of formality of the camera image is completely sublimated into a sense of ritual.
The villagers who lacked self-awareness and action, and the wicked Irimias and Pecina who were waiting anxiously, became their beliefs later. With a poetic expression, it took just a few minutes for Yi to harvest everyone's money and the firm gaze finally revealed by the villagers. And the ending is doomed to be unbearable. The bell has never been heard before, and even if it is outside the village, it cannot be heard here because of the distance. The doctor recorded this, the annoying autumn rain kept falling. So what was it that disturbed the villagers in the first place? Will something so imperceptible disturb us one day?
"The villagers are so stupid, what about us?"
"Hahaha, it's just a story, it's all fake."
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