In Kaurismaki's films, we have seen many expressionless faces. Although no research has been carried out, it can be speculated that the old man must have been influenced by Bresson's vision of images. In Bresson's case, "actor" is an element that is excluded as much as possible, and he extremely does not want to provide a cheap stimulation to the audience through dramatic performances. What he pursues is a "model-actor" ( modèle), where Kaurismaki, like Bresson, hopes to construct an “arbitrary space” of meaning through expressionless “models”, viewers can no longer take shortcuts to understand, but need to use their brains to fill in those A "meaning unit" that was deliberately discarded. Because, as Bresson said, if the film is to be immortal as an art, it must be serious, it must bring people to think and guide people to explore spiritually.
However, there is one obvious difference from Bresson, which is the use of music. In Bresson, music is used with extreme caution, because for images, music is closer to a kind of violence that determines meaning. . In this "The Other Side of Hope", music has become a common unit, and even an element in which various image units are connected in series, which is somewhat obscure and boring, and achieves a moisturizing effect.
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