I'm a fan of Thom Yorke and watched it in Hong Kong for his soundtrack. The ratings given by the Hong Kong audience were very low, and they were a little apprehensive, but it actually exceeded expectations.
The structure is loose, the rhythm is extremely slow, and it is very depressing. The twisted human body makes me physically uncomfortable, and I can't sit still halfway.
But the impact of the whole film is still very strong, both in form and content.
In fact, the story is nothing more than this: the witches in the dance company are divided into Markos faction and Blanc faction. Markos claims to be the goddess of sighs and needs to find the next vessel. Dancing blood sacrifice is a necessary ritual for possession. She killed the lost blanc. The heroine was originally the chosen host, but she was actually the real goddess of sighs (that's why her biological mother would call her a "sin", because her religiously conservative biological mother may have discovered her power early on) In the end, the heroine killed all Markos supporters.
"Three mothers" refers to the goddess of sighs, the goddess of tears, and the goddess of darkness, as well as the mother of the heroine, Mrs. Blanc and Mrs. Markos. (The original film director argento also has a horror movie "Mother Trilogy") In the end, the heroine said that she is the mother, which means that she is the only god, and she has gained an independent and autocratic power.
The entire film is a political metaphor, incorporating elements of religion, psychology, and feminism. The witch dance troupe divided for power, and the undercurrents of post-war East and West Berlin, people are bewitched by witchcraft, just as people are intoxicated by the fanaticism set off by the Nazis. The modern choreography is very tense, full of a sense of cult ritual, and the two dances "Rebirth" and "The People" are all metaphors for the collective unconscious, and the blood sacrifice at the end of the film is like the shadow of a primitive worship of a matriarchal society.
The doctor's memory of the Jewish wife is a reflection on power, and the heroine's erasure of the doctor's memory is a punishment for the doctor's failure to save his wife. After the credits are released, the camera returns to the couple's residence before the war. The warm picture of the sun shines in stark contrast with the dark scene in the feature film. Thom's slender and pure singing falls, and there is a bitter warmth in the depression.
I'm really a little regretful now that I've read too little, and I'm a little underwhelmed. I think the history of witches (/witch hunts), the history of mental illness, the history of WWII, the history of left-wing movements, Stravinsky's music and leather Nabosh's dance... these things can be used to interpret the film.
By the way, I like the soundtrack of the waist and waist very much, but I don’t think it’s likely to win the award (Chong ah, jonny, you are the hope of winning the first prize on the radio station) The music he wrote is good, but I always feel that the possible soundtrack path for non-professional backgrounds is still too much narrow. I beg him not to write horror music next time, or I'll literally lose my hair because of him. Obviously he wrote bitter love songs so good that they made me cry.
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