The first "Where Is My Friend's Home" is a story about a little boy looking for his classmates, the second "Life and Flow" is about the director of the first film looking for the actor of the first film after the earthquake, and the third film "The Lover Under the Olive Tree" is the story of the filming of the film "Life and Flow" - the actual situation of the actors and actresses in this story is exactly the opposite of the plot of the movie they are going to make. I didn't expect that the "trilogy" could be twisted and disassembled in this way, but after a little thought, I felt relieved: the movie is fiction after all. When you think that movies are more real than reality, that's precisely the result of fiction. When you are confused by the fact that the second book strengthens the reality of the first and the third destroys the reality of the second, it is precisely the A fictional story (whether a "movie-making" story or a film actor's story) is equally fictional—fiction built on fiction (Part 1) and fictional fiction (Part 2). I can't confirm whether the relationship between reality and fiction is Abbas's original intention. If we only focus on this issue, then the incision provided by Truffaut's "Day to Night" will be more thought-provoking in both breadth and depth. Put aside the speculation about the "director's idea" for the time being, many specific correlations and consistency can be found between the "trilogy". First of all, the mutual homage of "camera language" is very obvious: the "zigzag" mountain road in the first part reappears at the end of the third part, and the way the camera is presented from the perspective of the hero throughout the second part (for example, the camera is from the The road and roadside scenery seen from the front of the car) was also used intentionally in the first half of the third part. Then the poetic presentation in the film is also sudden, such as the wind blowing open the doors and windows when the male protagonist is doing homework for the same table in the first film, and the wind representing the answer of the deceased in the third film, and in the second film in the ruins Interspersed with the joy of "birth" (the background music is suddenly lyrical) and the cheerful music at the end of the third part (it seems to imply that the male protagonist has a successful marriage proposal). The repetition and connection of these form factors will obviously identify the director's personal style, but the meaning behind it is still to reveal the fictional nature of the film itself, so at the beginning of the third part, the director in the story confessed to the camera: I The actor who plays the director in this film. A film itself is the inspiration for another film, and the film art tradition itself is the starting point of creation. This "inward" excavation makes the relationship between fiction and reality more complicated. The bottom line of art undoubtedly includes authenticity, but the authenticity of art does not mean replicating a real thing in reality, nor does it all lie in expressing the artist's true feelings, sincere thinking or aesthetic experience. The relationship between the reality of art and the "possibility" It is more original, and the tension space of the artwork is inseparable from the belief and understanding of the recipient, all of which determine that "reality" in art is not the experimental result of Newtonian physics that conforms to the mesoscale and is not affected by time and space. Changing the law, it is more like the distortable space-time in the theory of relativity and the "uncertain" subatomic world in quantum physics. In the first part, the parents of the little boy did not punish him. In the second part, the people who survived the earthquake are surprisingly optimistic and strong. In the third part, Muhammad babbles on expressing his love and Taheri does not say a word. It seems that they all have the uncertainty of "Schrödinger's cat", and the film achieves its artistic possibility by disguising itself as the real and self-revealing fiction. All the raw materials that make up art can of course be “real,” but the artwork itself is fiction, and when you look at it, it presents a certain possibility as a certainty—just like “Schrödinger’s cat,” which previously simultaneously Both dead and alive. So in my opinion, Abbas may not be entangled in the relationship between reality and fiction, this relationship itself is just an artistic method to construct the "trilogy". Therefore, he uses non-professional actors without hesitation to create the appearance of a documentary, and he also unabashedly uses the language of the lens to carve a large number of highly artistic details. Even the seemingly original scenery under his lens reveals that it is not The quiet ideal of Claude Lorrain is the vitality of Van Gogh. Abbas's camera language is very clever, almost every frame makes me have the desire to speak, which may be based on misunderstanding, I may not understand Abbas at all, just by his images Activated a certain switch inside. Although I didn't want to speculate on the "director's idea" from the beginning, I have been trying to decipher what the director really cares about. In fact, what impresses me most in the "Trilogy" is the simple and easy-to-see theme - not necessarily the most important and core theme, that is, "searching and persevering". The little boy in the first story didn't find the home of his classmates, but the ending was happy. The director of the second story also didn't find the little actor, but the ending was full of optimism. In the third story, even if the male protagonist succeeds in the proposal, it does not mean that the marriage is as happy as he imagined, but that will be the story of another movie. A movie must have a beginning and an end, even if the lingering sound is lingering. The end point of a work of art can be connected to life, as long as it is alive, it is endless. No matter what happens, after the instinctive reactions of emotions and repression, coexist peacefully with various real experiences, try to focus on living every moment of the present, pay attention to the beauty of the world and the kindness of the heart, and move forward—— Of course it doesn't look like
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