"No Love to Complain".
The film won the Jury Prize in the main competition unit of the 70th Cannes Film Festival, and is regarded as one of the five must-see European films by senior film fans this year.
I have always been aware of the complete distrust of family affection and love in Nordic movies, the despair that comes from the bottom of my heart, loneliness, sinking, and unwilling to wake up, stupid and not knowing it.
After watching "No Love to Tell", I learned the bone-eroding skills of this director from the extremely cold land of Novosibirsk, Russia.
In the endless tragic reincarnation, the whole film will drive you to the bottom of despair. All the struggles are in vain, and the fateful cycle of life, the hopeless repetition, makes the film cold to the bottom.
Heartbroken, "frozen" people's souls.
The atmosphere created by the film, and the ending of the story with an open ending, froze all the tears squeezed out of depression into hard ice that could not be melted, choked in your chest, and did not give anyone the possibility of relief and relief.
He just wants to use such cruel, shocking, and chronic poison to make you remember, understand, clearly, not forget, or pretend to be deaf.
The story of "No Love to sue" is not complicated and has a clear structure. It tells the experience of a couple who are about to divorce and encounter their son's sudden disappearance at the end of their marriage.
The man Boris has a new love, the other is a young girl who is already pregnant with his child. He is in the process of divorce from his wife, Zhenya.
Boris is afraid to let the company know about his impending divorce because the company owner is a devout believer that he must have a family before he can get a job.
He wanted to hide this matter, get the divorce done as soon as possible, Jin Chan escaped, and let the new wife replace Zhenya like a dragon and a phoenix, so as to pass the test.
On the other hand, Zhenya had already been entangled with a middle-aged divorced man, and she swore that she was about to divorce and would not give Boris any sympathy.
He hates her, she hates him, he hates them.
Every time the two meet, in addition to endless quarrels, it is frightening cold violence.
In the life-and-death struggle for marriage, they ignored one person, their child, 12-year-old Alyosha.
After witnessing the last quarrel of his parents and the indifference of his mother the next morning, he secretly shed tears at the dinner table and left the house.
No one knew that this would be the last time Alyosha would be seen at home.
Because he suddenly disappeared.
Alyosha's always, so that Boris and Lena must work together to deal with it.
This interference incident is not special, but the subsequent development of the story does give people a glimpse of the uniqueness and distinctive authorship of Andrei Sarkinsev.
From here, the softer films will take the disappearance of the child as a miracle for the couple to repair their relationship, so that the two can regain the feeling of love and realize their own inadequacies. This is American Hollywood love sketch.
Or, the husband and wife's problem continues to expand here. At the moment when they are about to break their nerves, the two use an inexplicable hug to make the two shake hands and make peace with the story of bottoming out and continue the road of love. This is a romance drama that sees through everything in Europe.
And Andrei Sarkinsev will not give any compassion and care, he wants to pierce the bubble of reality, the dream created by the movie, he only gives you the truth without any modification.
He removed all the soft light effects that could be illusory, and forced you to see the final outcome with the tragic original color of the original image.
In the process of searching for their son Alyosha, all we see are the knots in the heart that Boris and Zhenya cannot unravel, the deteriorating love, the accelerating collapse of faith, and the ravines of love that are difficult to fill.
On the way to Zhenya's mother's house, Zhenya smoked in the car and angered Boris. Boris opened the window ruthlessly and turned the music to the loudest. Zhenya roared frantically, and Boris continued to drive on a deaf ear. Cold violence peaked at this moment.
When the son, Alyosha, ran away from home, to the possibility of being kidnapped, to the progress of the plot, the relationship between the two did not have any chance of recovery.
When the two claimed their son's body in the morgue, although they both denied that the unrecognizable body belonged to Alyosha, both of them couldn't help crying. Boris tried to appease Zhenya, but Zhenya was completely out of control. Blaming Boris for ruining her life, the relationship between the two completely collapsed at this moment.
This suspected son's corpse became the last sacrifice of their love.
"No Love to Tell" uses a number of cyclical repetitions in this seemingly simple story, creating a fateful reincarnation that leaves no one free, and indicates that after a tragedy, it will always be a tragedy .
The film starts with two young couples visiting Zhenya's house to see the house. The young couple is in the sweet period of love. The woman is pregnant with a child and needs a bigger house. The woman's face is full of expectations for the future life.
In contrast, the desperate and restless Zhenya, and her devastated son.
This contrast indicates the tragic trend of the plot, and at the same time, it blatantly shows the director's intention, that is, everyone will not be redeemed in this reincarnation.
At the end of the film, Boris and Zhenya both start a new life in a new place. The renovation workers enter their former home and start the renovation. What kind of future will the upcoming newcomer have in this home?
The camera finally focused on the heavy snow outside the window, and the background was silent.
And even though Boris and Zhenya experienced a heartbreak, they were still stupid and ignorant.
Boris is still fed up with his new son, he angrily puts his son in the huge cradle, he wants to get rid of everything, just like he used to.
And Zhenya alone in the mansion, relying on the treadmill to pass the time. The next shot is of Alyosha's missing person posted on a telephone pole.
The past is over, but it still erodes the present.
In Andrei Sarkinsev's films, there are few scenes of naked eroticism, but this time, he used a few scenes of explicit eroticism, but only to deepen the loneliness of the film's helplessness.
No matter in the infatuation period of love, no matter how hard it is, like glue and sweetness, it will eventually fall into indifference and loneliness.
Both of them found a new beginning at the end of their marriage. They thought it would stimulate a new life and love, but unexpectedly, they just entered the familiar cycle again.
(Behind the young girls who believe in love is Zhenya, who is full of hope for the future. This double metaphor is intriguing.)
Their next children will most likely become Alyosha in the past tense.
A soulless person, a bloodless heart, can never be reborn.
(Symbolizing reincarnation and repetition)
In addition to the repeated intertextuality in narrative structure and narrative structure, Andrei Sarkinsev also uses a lot of empty shots to express pessimistic and repressed emotions.
The opening film is a dead vine and an old tree, a heavy snow, a few fixed shots, except for the flying snowflakes, it is a bleak.
And these empty shots reappear at the end of the film.
After the cold winter, it is still a cold winter, until the spring flowers bloom, or there is no warm moment when the sun shines.
There are multiple empty shots with windows in the film, these "waste" shots, from a few seconds to a dozen seconds, from fixed to forward.
After focusing, it is still out of focus, but the snowflakes fill your messy heart.
Everyone yearns for the world outside the window, because the home in the window will turn into a cage in an instant!
Several empty shots pave the way for a quiet sadness. The length of the shot is related to the degree of emotional accumulation. The choice of the length of time determines the amount of emotion conveyed. Too short or too long will affect the natural and distant feeling. immersion ritual.
These empty shots can sensitively help the audience capture the emotions of the characters at the time, and even synchronize the psychology of the audience and the characters, making people feel the same way unconsciously, dispelling the existence of the screen, completely substituting the film into reality, and making the mimetic space the same as the real space. Construct one.
In the film, love quickly withers in an unstoppable situation, people are indifferent and isolated, communication is either poor, or there is only "I love you" perfunctory, deceiving others and deceiving themselves.
All children are the funeral objects of the marriage grave, and the crystallization of love has vanished before it condenses.
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