The history of Goo Ge, which is graceful in the mind and in the cramped environment of the outside world, focuses on the alienation of modern people and even the social problems of isolation. It seems more like an allegory with an oriental Kafkaesque theme, adding metaphysical philosophical connotation and depth to the film that made Hiroshi Kawahara's existential chapter.
An entomologist, Renmu, who was trapped in the sand, and the hostess of the wooden shed, the lonely sand girl who lost her husband and her daughter, moved the sand like Sisyphus, to prevent the fall of the wooden shed and threaten the two. the life of a protagonist. During this period, Renmu tried to escape many times and failed. However, he was also immersed in the simplicity and gentleness of the sand girl. The two even had a relationship. Renmu hoped that the villagers would allow him to see the sea every day, and the villagers asked Renmu to stand in front of them. In front of his face, he crossed the beard with the sand girl, and the sand girl rejected his unreasonable request. The sand girl was diagnosed as pregnant, and when she was transported away, Renmu had a chance to escape, but he ultimately chose to stay in the groin like a vessel of sand.
These philosophical scenes are linked together, revealing the absurdity and tragic nothingness of the human condition. The film's male protagonist, Niki, is a civilized man with modern rationality. He has a very selfish side. As the helm of the entomology field, he He only cared about his own life, and when the sand girl's wooden shed was invaded by sand at the beginning, he only cared about self-protection. His remarks all pointed to the value ideal of civilized people in modern society - egoism. Therefore, when he came to this barren hill from Tokyo, he was filled with pride, and in order to survive, they had to cooperate for a long time to carry sand. This is a deconstruction of a modern world that advocates self and rationality. And his behavior of forcing the sand girl to watch the sea is a mockery of the civilized society.
The anxious penetration of the outside world and the inner world made Renmu have to face the crisis of value collapse. Contractual rationality can't help the trapped humanity, the stuffy breath lingers around and puts him in a suffocating situation, and the loneliness of humanity needs to be provoked again and again to face Wuji in the spring boudoir. The film reminds viewers from time to time how the intrusion of the external world corrupts people's modern rational will. Its purpose is not to admonish, but to describe a wider human space. Miwu caused him to lose his civilized self in the foggy jungle, and more of his hope was placed in the process of carrying the sand.
The film was finally subtitled, and Renmu, whose whereabouts were unknown for seven years, was sentenced to disappearance. When a man encountered a "spring cat" in a deep cave, no matter how many rational resources he had in the real world in Tokyo, he was still deeply exiled like a paper kite. The meekness and softness of the sand girl is the original hotbed of rational modern society. Renmu's sinking lies in the confusion in his eyes. He can't be as relaxed and sophisticated as he is in a civilized society. The scalp to accept, there is no way to get rid of the fateful provocation.
The insignificance and isolation of human beings can be said to be reflected in the flying sand all the time, and Renmu's choice is more of a compromise with reality, digging sand to live, or to live to dig sand? This is a question of entanglement, and it also reflects the deep taste of the situation. Whether in a modern rational and civilized society or in a primitive hotbed, we all need to face the confinement of the mind and reality brought about by constant obsessive-compulsive behavior. It can be said that The mind is homogenized with the outside world. In the end, the sound was slow for a moment, and he chose to give up.
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