Perhaps, this is the meaning of travel, better come back.
In fact, when a traveler needs more than courage, he also needs a strong castle. This castle belongs only to him. No matter how far or how long he travels, as long as he thinks of coming back, the castle will accept him.
So what is a man without a castle?
I think people who don't have a castle should not be traveling, but wandering. They are anxious to go on the road, and they have no time to take care of the beautiful scenery around them, let alone think about the meaning of travel. Without the castle, their hearts are always erratic, the landscape is lonely, the sky is dazed, always, there is no real freedom, naturally there is no admiration.
Travel is full of dangers. You don’t know the next destination or the next scenery. Although you will be tired, there is always a warm persistence in your heart, so that you can find happiness in the tiredness. In a trance, it seems that you can see the unrestrainedness of the ancient road with the west wind and thin horses, the magnificent sunset in the west, and every grass and tree will have a strong poetic meaning.
All because there is an unshakable castle waiting for your return.
If one day you want to give up this warm fortress and start anew as a brave person, just like Mona in "The End of the World", never stop and go, just move forward with the last stubbornness Stubbornness and pride, I think, the ultimate destination should be death. Just like the frozen corpse, that is the final destination of the wanderer.
I think Varda's films should be another form of literature. In her films, we can't see the usual routines of film narratives, replaced by delicate emotional expressions and highly literary narration, and occasionally enter the eyes. landscape. All of this gives the film a unique Varda-esque aesthetic. If a master film director should have his own style, then, I would say, poetic expression should be Varda's aesthetic concept. However, her beauty is not as restrained as Tarkovsky, nor as forbear as Angelopoulos. Varda's films have a tension, which is the cognition of life, the search for the self, and at the same time, it is also an alternative interpretation of death.
In Varda's film career, whether it is a feature film or a short film, there is a consistent style. Enthusiasm and concern for life, dedication to poetic expression, use of literary film language, exploration of narrative, etc., these are Varda's labels.
I was a little shocked by Mona's death.
The movie starts off with an unpleasant feeling, even a bit depressing, and I don't like death because everyone dies. Even in the movie, I wish the characters lived longer. Varda should be responsible for Mona's death, she gave her a free soul but not a warm fortress.
Freedom is not as free as we think it is.
Freedom is limited, do not want to be fettered, can only wander without bounds, this is the truth engraved into fate. Mona is free, she is also hungry, cold, lonely, and even in some danger. She has been wandering, and the chance encounter brings only a firmer wandering heart. In a sense, Mona's wandering was targeted by the god of death from the very beginning. Although Mona died in the end, she once lived.
However, the result is cruel and chilling.
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