God is not always in the garden, he is also in the hilltop market and temple

Elza 2021-12-27 08:01:54

Schrader is a person who has lived through the 70s, and a director with a sense of religion. The old horse has fire, the rebellion is reasonable, and the sacredness is also slightly evil. It does not seem to matter whether God is absent or not. In the end, he must head towards the path of transcendence. People can only learn the road that Jesus walked (but this radical line is never taken seriously, Jesus is also a revolutionary, and his death is not just a sense of religion), so he is now a taxi driver, a dancer , Novelists, or priests, all surpass themselves with actions. But why not be popular to the end? People who take the world too seriously will eventually go toward self-destruction, believing in self-sacrifice in exchange for the redemption of others. Schrader's core idea is undoubtedly Bresson's "Pickpocket", but can the world still use "love" as redemption? You are also desperate to watch the late Bresson movies, even he denies the value and becomes nothing. The film also embodies the Transcendental Style he himself thinks, and makes image integration and rethinking. Although Bresson, Dreyer, and Ozu are branded everywhere, how can they not think that the final sign after the Trinity turns out to be Manoel de Oliveira?

Keshaun 2022-03-23 09:02:33

Gloomy and solemn, the atmosphere is like a horror movie, the square format and the design composition are very oppressive, the camera advances like a ghost, and the desolation of the soul is more frightening than the deterioration of the environment; it really is a village priest + winter The perception of light, but the reality is placed on the issue of environmental protection, and the ending is still in the release and closing of "love" (individual love and so-called big love), which also shows the gap between the masterpiece and the masterpiece.