"Red" contains an eternal and intractable contradiction, superficial peace and cruel truth, which one should be pursued by human beings, it is not only whether children should know that they are not related to their parents and whether their wives should find out The secrets of gay husbands, such a simple question. It implies more and deeper problems between the truth and concealment in life. Either humans escaped in comfort, or lifted the veil to face an embarrassing but real situation. (This problem is not difficult to find in The Matrix, which is described in a more bizarre and straightforward allegorical way.)
The complexity of modern society has made this original problem more complicated, and it is involved here. A very important prop in the film-the telephone. At the beginning of the film, in the rapid movement of the camera and montage cut and paste, two spaces separated by oceans were connected along the telephone line. The telephone is an interpretation of modern people's concept of space. In the modernization of technological means, the living space of human beings is also becoming increasingly cramped and narrow. It is like using a stapler to bind different dimensions together, and the telephone is a kind of channel. At this time, human beings have lost the right to choose whether to escape or face. Just like the old judge who represents the judgement in the film, he can hardly resist the temptation to search for the truth to tap the phone of his neighbors, and finally reveal himself, and he is the first victim of the truth; the heroine Valentina is on the other end of the phone. Lovers always have all kinds of suspicions because of her delay in answering the phone; the young judge August finds out that she is having an affair with others because his girlfriend does not answer the phone. The contradiction between the truth and the false of life, because of the conditions of modern life, makes people more confused, sad, and helpless.
Valentina and Auguste in the film are two parallel and mutually revealing clues, like Anna and Levin in "Anna Karenina", Clarissa and Levin in "Mrs. Dalloway" Septimos. And the two clues finally meet in a special way. This is the film’s interpretation of time. When the old judge tells Valentina’s youthful story, we know that he seems to be Austrian. In Gust’s previous life, the two were both judges, and they also blocked examination questions on a page that was accidentally opened. In the same way, they found the girlfriend who was out of the wall, except that one was born twenty years earlier than the other. For thirty years, Auguste was Valentina’s neighbor, who had been living in a parallel space that could be covered by the same lens but didn’t know each other, until two people got on the same boat and got shipwrecked, at the old judge’s house. In TV, they became common survivors and were connected for the first time. The old judge, the peeper and judge of this world, was the only one who discovered the truth—the self and Warren who were born twenty or thirty years later Tina met. This is not a kind of reincarnation, but the multi-dimensionality of time, which is also attributed to the complexity of modern society. The setting of the old judge and the young judge reminds me of Escher’s paintings in a two-dimensional horizon. To create an impossible world in a three-dimensional space, time is no longer a one-way existence in the film, but a complex mechanism operated by countless gears and scrolls. When the old judge entered his twilight years, his first half of his life began again. Reappearing in the same space, this is an illusion produced by time in the complex world.
Kijeslovsky’s films are always accompanied by small details that suggest fate, and Valentina’s bleak gaze on the huge advertisement suggests In the event of a shipwreck in the future, the three red fruit patterns on the slot machine implied that Valentina and Auguste suffered a blow to the truth imposed by life.
At the end of the shipwreck of 1,500 people, the survivors are The protagonist in the movie, this is a ray of light that the movie observes the world with God’s compassionate eyes. The seven survivors represent the seven salvation names of Jehovah. Mankind has truly gained salvation and fraternity, which makes the movie not only stop at righteousness. Thinking about the reality of human living conditions, and finally leading the answer to the question in the direction of the gods, it is like covering this building with a dome of a religious building, like the brilliance of a lighthouse, forever in the vast infinite space Search photos.
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