"Female Addict" is another masterpiece of Danish director Lars von Trier following "Depression" in the 21st century. It is also a movie I like and admire very much (see the two as a whole). Although this film has attracted a lot of criticism from all walks of life due to its bold performance on the theme of sex, this film has made an outstanding and indelible contribution to the presentation of an anti-traditional and prejudiced value, and Feng Ti Er also gave this film a unique charm with its calm and unique camera control and narrative style, and constructed a maze of liberal arts and sciences of lust, rebellion and madness.
When it comes to Von Trier, I have to mention the "Dogma95" manifesto, which is known as the "return to the essence of film". Although the director Feng Tier was a pioneer of the "dogma95" manifesto, and his "Dogtown" and "Dancer in the Dark" were filmed strictly in accordance with the manifesto, he won countless honors with the remnants of neo-realism. , But the film "Female Addict" is a gorgeous betrayal of the "Dogma95" declaration by Feng Tier himself. The film began to use off-picture soundtrack, artificial lighting, temporal and spatial separation, and optical processing like most modern movies. It turns out that Feng Tier, who has returned to "normal", has completely and even stronger scheduling than other directors. Ability, many post-processing of "Female Addict" are quite original.
The first thing worth mentioning is the montage method of the film. In terms of narration, the film adopts a parallel montage of reality and memory, and promotes the dialogue and conflict between the protagonist Joey and the professor Seligman, and Joey's own exploration and conflict of sex. This kind of narrative montage method is actually a common method in many art films today, especially in Oscar competition films. It compares a certain memory of the protagonist with the reality he experienced after the change of time and space, thus showing a kind of destiny. The irreversibility of this, and then launched a reflection on the society. However, it is worth mentioning that the parallel montage narration carried out by von Trier in this film is not limited by the timeline, but in the process of telling the story, the academic association of the scholar Seligman is promoted as the film itinerary. Another clue to reorganize the order of memories in a logical order of thinking, but different paths lead to the same result, and all clues ultimately point to the rainy night that turned upside down.
In the process of advancing the parallel montage of this film, it is obvious that psychological montage and metaphor montage are handed over. In a memory at the beginning of the film, Joey recalled her first sexual experience and mentioned the "two shameful numbers" of 3 and 5. The scholar Seligman associates 3 and 5 with the mathematical Fibo. As a result of the Naqi sequence, the film has a highly mathematically colored shot cut. The highly visually impactful narrative shot combined with the rigorous mathematical presentation, metaphors the most primitive impulse of human beings at the mathematical level.
Regarding the Fibonacci sequence, there are actually a lot of points that can be explored for its sexual metaphor. First of all, when Fibonacci himself discovered this sequence, he used the "breeding rabbit" as a comparison. In fact, the rabbit can be regarded as one of the animals with the weakest sense of ethics and morality. When the fifth to sixth term of the Fibonacci sequence is transitioned, the corresponding numbers are exactly the 3 and 5 mentioned in the film, and if a pair of rabbit parents (in the fifth term) only gave birth to one " "Only child", then in the absence of foreign rabbits of the opposite sex, the rabbit family must complete the reproduction task from 3 to 5, the offspring of the rabbit must have an incestuous relationship with the opposite sex of the previous generation (as shown in the figure below), and so on, endless Of non-ethical sex. And Joey’s perverted pursuit and reliance on sex in the future is also indicated to a certain extent by this rabbit metaphor. As to whether it is a metaphor for Joey and his father also have a certain ambiguous relationship, the author does not Dare to jump to conclusions, but in fact there are certain hints in the film.
The quotient of the neighbors of the Fibonacci sequence is a process of infinitely approaching the golden ratio. If it is represented by an intuitive curve, the "thread" it presents is to some extent like a baby curled up in the embryonic stage. , Which symbolizes that all Joey's impulses about sex can be attributed to the origin of life.
In addition, the performance montage in this film has many highlights. The use of overlapping shots is also one of the highlights of the film. There is a shot in the film that overlaps the female reproductive organs and eyes, which symbolizes Joe. The awakening of Yi's life and her sexual conception proceed simultaneously, which is thought-provoking.
In addition to the montage method, there is another highlight of the film that is worthy of scrutiny, that is, the use of the soundtrack. The first filming stage of the scholar Seligman, the background soundtrack is the heavy metal song "Führe mich" by the German Rammstein Band. The Rammstein Band has always been known for its bold exploration and performance of sex and other taboo topics, which is in line with the film’s The theme reached a perfect intertext. More importantly, the lyrics of "Führe mich" express the longing for a kind of divine guidance when the confused and painful soul walks alone in the world. It just indicates the human life problem that Joey has been unremittingly exploring for the first half of his life: I What is the meaning of existence?
There is another very striking classical soundtrack in the film's Ost, which appears twice in Joey's recollection of himself and his girlfriends exploring orgasm and the scholar Seligman's sexual fantasies about Joey: Shaw Tarkovich "Second Waltz". Regarding the theme of "The Second Waltz", music critics in the past have always had different opinions, but one thing has almost become a consensus: the melodious waltz tune at the beginning of "The Second Waltz" is about deep meditation. In the film, Joey and his girlfriends are soaked. Exploring orgasm on the floor of the water bathroom, the "Second Waltz" sounded accurately, and when Joey's mother asked suspiciously outside the door, this classical symphony about meditation accompanied Joey's unsuccessful orgasm. It stops, giving people a strong audio-visual conflict.
The fifth chapter of the first part of "Female Addicts" is also the final chapter of the first part. It is the most vivid chapter in which the talent of director Feng Tier is reflected. In this chapter, Joey was inspired by the scholar Seligman’s analysis of Bach’s music and divided his three most impressive sexual partners into the three voices in Bach’s works: the low voice and the left-handed part. The second part and the first part played by the right hand. In this chapter, the director puts multiple shots on the same screen. During the narrative process before and after, he uses repeated montages to add Joey’s memories to his narrative paragraph by paragraph. Only the corresponding one is added to the memories of each sexual partner. The monophonic soundtrack of the voice, when the final narrative completeness is achieved, also corresponds to the birth of a complete repertoire. The ternary tone of Bach’s music is correspondingly added to the three most important passages in the sexual experience of female addicts. , Completed a beautiful parallel montage narrative structure. //2018.6.10
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