Looking at it with great expectations, although the presentation process of the images, the personalities of the biographical characters and the surreal collage techniques are enough to attract enough attention and gimmicks, the unique "female perspective" and strong color perception are more complete and emotional. It shows Frida's growth and disillusionment, but what attracts me in the end is the quirky psychology of the third world and foreign culture.
I don’t know if it is because of the limitation of the biographical subject matter, or because of the compromise in the special form, the whole film has more traces of rehearsal. Frida is still portrayed as a "suffering woman, a mistreated wife, and a mother who has lost her child", becoming a collection of primal desires, an angel/devil figure other. Except for the brief, politically charged, speculative dialogue in the bus, Frida's life process is extremely passive, her ideology is eliminated, and her "political hero" is eliminated in the prominent physical desire. , revolutionary fighter” and any political stance. Frida in the biography is undoubtedly a dissolute and free woman, a woman who pursues female consciousness, has a subjectivity, and is reckless. In the film, she is weakened into a victim of love, which undoubtedly reduces the expressiveness of the image. . The artist's attitude towards emotions is by no means confined to the conclusion of traditional ethics and human nature, and the complexity and hardships of a free family cannot be simply presented by a bloodless political machine and crazy copulation with different men and women. In addition to the constant gimmicks and catering, what remains are the flat-shaped characters.
"Frida shows the director's feminist position, that is to use the power of love and sex to mock the so-called state machine created by men to represent civilization and progress, but this feminist position is not implemented in the film. It always shows the female body and desire, and exposes it too much to satisfy the audience's peeping." No matter how the video uses paintings to collage Frida's great artistic brilliance, or separates and closes, disconnects , to build greatness with mutual tolerance and love. At this moment, Frida is still the object of voyeurism, the female other in fantasy. In the performance of the paintings, Frida is only placed in a subordinate position - "simplifies the heroine's side as an artist, especially does not highlight the deeper and more distant ideological realm in Frida's art world, but only flows The physical pain on the surface and the unfortunate encounter in love life.” So the painting becomes a simple portrait of a lonely woman, and her wise life attitude, the expression of life and death philosophy, and the construction of primitive consciousness are all set aside. behind the head. "The Indian mythology and her personal myth, the history of the Mexican nation and her personal reality are all mixed into colorful paint", this is the real Frida, not just a slutty girl who is swept away by love stray bullets .
"Although the connection between artistic creation and life experience is inseparable, the relationship between them is intricate and not a simple one-to-one correspondence." Formal shock, narrative dramatization and overly prominent cultural quirks always It will dazzle the minds of the viewers and bring unprecedented passionate movie viewing experience, but this passion is always alienated. The original power of art and the intricate environment in which art is created are the key expression parts.
Feminist movies? I'm afraid it's just an old way of being deceived.
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