The film echoes the clues of the two works "Where is My Friend's Home" and "Life and Life". "Life" is based on the shooting location of "He", and many scenes in "Olive" are similar to the shooting scenes of "Life". In response, at the beginning, the director, as an "interpreter", led the audience to understand the process of selecting film actors, "how the film was made", and how to connect the film shooting with the story blueprint without rigidly requiring actors, perspectives, and clues. Combined, this is exactly the complex narrative structure that director Abbas is good at. The specific filming process of the dialogue between the director and the newly married young man after the earthquake in "Life" is fully displayed, and the curious waiting and watching of the large group of children outside the cordon on the set completely restores the clear boundary between "movie" and "reality". In the film, Hussein's favorite Talyssa is aphasia. Facing Hussein's courtship, she is always hesitant but unable to answer. The long shot of the chase in the woods is agitated with the lines of time and space passing by. Talyssa is holding flowers and Hussein is carrying pots and pans, symbolizing the difference in identities and value pursuits between the two. The demarcation between the illiterate and the literate, the poor and the rich is more important here. The single tree that appeared when Talitha climbed the slope to the top of the mountain made the audience quickly realize that this was the slope where Amer went back and forth in "Ho". At this time, the camera positions for Hussein and Talitha were completely separated. And the high-altitude shot of Talitha was covered with a layer of pale white, which is a metaphor for the gap between the two that cannot be touched or ignored. The long shot has been extended to the end of the film. Talitha walked into the dense olive grove. At this time, the music began to play, and the chase shot reappeared. Hussein always followed Talitha, and it represented Talitha without stopping. There was no opening, and with the recovery of the pulling camera, the pursuit of the two became blurred. Just like the high-camera pulling camera at the end of "Sheng Sheng", there was a turning point when the audience thought it would end like this, and Talyssa turned around. , but after a short speech, the two left each other, but to a large extent they could feel the meaning of parting. Hussein walked quickly towards the camera again, pulling the audience's vision back to him, and Talyssa disappeared in the olive Deep in the tree, the aphasia of love has not been able to achieve a complete result. This "travel"-style visual experience brings people a kind of physical and emotional synaesthesia. Like the two failures in filming scenes, Talitha failed to say the line "husband" in the end. , and ended up being drawn closer to people's lives. Talyssa did not turn over the page of rejecting her love, but finally closed the possibility of her trying to get love again. There is a dialogue in the film: "If you greet the souls of the inhabitants here, they will answer 'hello'. Remember, they only answer 'hello' and 'n' See'. If you say goodbye and don't leave, they won't answer your greetings again. Personally, I think it is to highlight the void in people's aphasia after the earthquake. The painful experience of losing relatives and family members has taught them to accept the unbearable weight of life as a necessity for survival. It seems that they do not care about how the external environment evolves. The calm rhythm of neither joy nor sadness is reflected in the peasants that the director meets along the way. The hazy and emerging gaps between survival and making a living, love and marriage, movies and life cannot be bridged. Movies can choose actors, actors can interpret life and integrate them. The details in it make the movie come from life and higher than life.
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