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As a remake of a classic horror film, the new version of "The Storm" directed by Italian director Guadagnino completely abandons Arkindo's gorgeous and treacherous audio-visual techniques, and all horror effects are expressed by props - the only horror prop That is, the human body, or more precisely, the objectified female body: the twisted torso, the broken limbs are like waste, and they are thrown away without dignity; after women have completely lost control of their own bodies, , the desire that is carried on the body emerges from the shadows, showing us why the female body is a wonderful container for imagination.
All of our feelings are in our imagination, and in the new "Small Wind", imagination submissively relies on props. At a time when most horror movies rely too heavily on special effects, this rare prop movie offers a rare level of authenticity. The brightness, color and volume of the props are difficult to convey in computer CG. They materialize the feelings in people's experience and magnify every subtle feeling. The body-based fear imagination created by props is almost everywhere. From the beginning, Olga's body was pulled and deformed with the dance steps of the heroine, to the partial severed limbs and internal organs that repeatedly appeared in Susie's dreams, as well as the group dance Volk with a strange choreography design, and the abandoned girl found on the ground floor of the theater. Twisted flesh, until the last breathtaking blood-colored sacrifice: layers of human bodies, naked girls dancing endlessly, girls who were sacrificed to open their chests, evil gods resurrected to harvest life, Like the autumn wind reaping the earth. Under Arkindo's lens, the dance academy only provided him with a platform to explore the strange landscape, while Guadagnino digs the medium of "dance" almost like a genius, and puts the "body" back into the theme of horror. In the film, Mrs. Blanc, played by Tilda Swinton, explained the aesthetics of dance so bluntly: "The movement of the body is a language, a poem formed in the air." The reason why the art of dance exists is to show the potential of the human body. , every light jump and spin is a balance between one's upward desire and gravity. Unlike other arts, the beauty that physical movement brings to people is immediate: it does not need to be understood, only to be felt. And this beauty becomes terror, and the terror it produces is direct. So we will see a 6-minute modern dance scene. Guadagnino seems to have turned the film into a documentary here. The dancers wearing red silk threads are sometimes intertwined, sometimes prostrate, and the precise power bursts out of beauty. Also played the prelude to the bloody festival.
All kinds of alienation about the body created by the props bring the audience not only visual horror, but also deep reflection and enlightenment: the female body cannot escape the fate of being materialized under the gaze of men, and it is even more hopeless The thing is, violence does not solve this dilemma. What we need is to face objectification and understand objectification, so as to re-establish the terrifying power contained in the female body and the possibility of deeper beauty.
In fact, the new "Squirrels of the Wind" is a unique prop film this year, and it is also a feminist film that calls on audiences to face up to the body and its objectification. Not only are all the actors female (the only male role is played by Tilda Swinton), and not only the connotation represented by the identity setting of "witch", but also the violence that the female body needs to face directly - a A near-unsolvable, structural violence. In reality, men can often easily use violence against women's bodies, but women are difficult to fight back equally. When two police officers came to the theater to investigate, the witches could only hypnotize them, take off their pants and mock their sexual organs; when the final sacrifice came, the witches had to need a male presence to witness. These two scenes ironically demonstrate the powerlessness of the feminist movement: if violence is the core of fear, violence is also the core of power. But as a woman's body, it has never mastered the initiative in this game. It must be admitted that women's bodies are never equal to men's bodies in the use of violence. What feminists claim to be "the same sexes" is just a simplistic conjecture of the problem. The female body, which can be used as a container, is more varied than that of the male, and has unsurpassed expressive power - whether it is the exploration of terrifying images or the construction of gentle dreams, the female body is a permanent physical object, carrying the pursuit of beauty. .
But, like St. Anselm's prayer, women's rights activists look forward to the coming kingdom, and the unfinished is its strength. It is commendable that Guadagnino also expressed his vigilance against the feminist movement in full swing today. In order to welcome the evil god's return, the witches of the theater mutilated three girls one after another. Once power is abused, the goddess of justice becomes the goddess of vengeance, and the scales become the knife. In the end, the heroine regained her identity, summoned the god of death, and gave the tortured girls real death. She kept chanting it's beautiful, and the female bodies trembled like fallen leaves, like a child returning to her mother's arms. The horror film created by Guadagnino ends with a softer ending, where evil's mockery of evil ends with a reflection and reconciliation of power: "We need guilt and shame." Only guilt and shame can stop power from falling back into a vicious circle Only in this way can the endless exchanges between torturers and victims be ended, and feminism can be prevented from turning violence into violence and hating cruelty in a cruel way. This is exactly where the new version of "Squirrels" surpasses the old one.
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