After a stroke in the 1980s, the condition no longer allowed Antonioni to make full-length feature films, and "Days on the Clouds" with Wim Wenders in 1995 has some sort of conclusion, the last one The shot is exactly the same as the classic ending of Antonioni's "Eclipse" (L'Eclisse), which can be regarded as a retrospective and a sublimation. "Summary" is the common interest of the elderly masters, but when it comes to Antonioni, "summary" has become more "integrated" because of the co-production. In the new millennium, he invited Wong Kar-wai and Soderbergh to shoot Eros. The consistent theme, the fusion of different regions, cultures and creative styles made the final summary of the images of the master's life.
Hand Wong Kar-wai
enters the whole film with the most narrative "Hand", which undoubtedly makes "Eros" more immersive. Almost from the very first shot, Wong Kar-wai's style has been continuously demonstrated. The dark colors, sentimental tone, and lingering ambiguousness are all very similar to "In the Mood for Love". The "hand" here is even the cohesion and induction of love in typical Wong Kar-wai images: it is hesitant, repressed, sensitive, and detached, which is the best interpretation of the emotions that pervade the light and shadows. Eastern-style emotions and desires were abstracted by Wong Kar-wai as a sense of obscured space and distance. Zhang Zhen and Gong Li gathered every emotion they got along with their ambiguous "hands". From the first encounter to the final farewell, the hand is the main body of sewing clothes. , has also become a substitute for sex.
The image of "hand" is also shown in "Paris, I Love You" in Assayas' "Place of the Red Boy": a man hangs his hand in the air and feels a woman's shoulder. But in "Hand", this overly hazy emotion is obviously concretized and sublimated a lot. The hand is no longer a part of the body, but becomes detached and noble: Xiao Zhang put his hands around Miss Hua's waist, alone in grief The scene of reaching into the cheongsam and stroking with her hand, and finally "joining" with the down-and-out Miss Hua under the touch of her hand, can be regarded as late sex, or eternal companionship.
Balancing Soderbergh
Soderbergh's "Balance" is divided into five sections by color, during which he switches between dreams and reality, and the description of the theme of "love and desire" is trapped in the space intertwined with the virtual and the real, which is relatively more difficult. hidden. The advertiser Nick, played by Robert Downey Jr., expresses a sense of work-induced imbalance shortly after the opening. He talks to psychotherapist Pearl to present the mechanisms of communication and healing. Wigs, alarm clocks and dream girls are at the center of the conversation and progress with "Dream Interpretation". The subsequent switching of images caused the indistinguishability between reality and dream, until the appearance of his wife and colleague Hall. The two are the counterparts of the dream girl and the psychotherapist in reality.
So far, the relationship between the virtual and the real seems to be clear. The blue picture and the psychotherapy scene are two of Nick's dreams: his wife becomes the sustenance for Nick to have sex and get rid of external troubles in the dream, and Hall, who brings trouble to himself at work at the same time. In another dream, becoming a therapist to help heal the mind, the two dreams are both healing and connected to each other through a "bell". The expression of desire seems to only stay on the girl of dreams, but it is reflected by the difficulty of work and the joy of sex. "Balance" is not only a balance between reality and dreams, but also a balance between work pressure and psychological demands. However, if psychotherapy is regarded as reality and others are regarded as dreams, completely different conclusions will be drawn. This "dream within a dream" seems to be an endless cycle, with no starting point and no end point. Like the missing paper plane that floats out of the window at the end, it may represent a secret desire, or it may be nothing. Soderbergh's love and lust ends in ambiguity.
Dangerous Line Antonioni
Whether "Dangerous Line" is the work of Antonioni or his students, it undoubtedly carries a strong sense of conclusion. Between man and woman: rift, estrangement, new love, old love, encounter, such stories also run through Antonioni's "Love Trilogy" ("Adventures", "Night", "Eclipse"). The segment begins with a woman's nudity and ends with a nudity, but the presentation is not voyeuristic. The bodies of the two women are one calm and restrained, the other warm and unrestrained, and the man in the middle is troubled and lost.
The natural scene still becomes the image that contrasts the character's heart. Mountain streams, fields and horses, waves and beaches, when they appear, the relationships of the characters all show a tendency to reconcile or merge, but at the same time convey a certain atmosphere of incompleteness and instability, a sense of love and desire. The subject wanders in confusion. The man asked the girl what would happen if I got into your bed; the girl replied, I'll tell you my name, reminiscent of what Irina Jacobs said to the boy in "Days on the Clouds". Later, he really got her name, but he left because of this, and continued to be lost in love. The two women finally meet at the seaside, naked, innocent, and unadorned, then look at each other and smile. I don't think there is much destiny in this ending. Love and sex have not disappeared, but they have returned to the original point in poetry.
The expressions of desire in "Eros" are all floating between the images, just like the man and woman on the poster who seem to be in love in the water and on the cloud, blurred and uncertain. Thinking about it this way, another translation of "Days on the Clouds", "Love and Desires on the Clouds" seems to be equally suitable for "Eros": perched on the clouds, even if the love has no place to return, it is still erratic and graceful, wandering far and near between.
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