While watching, I think of Lou Ye's "Flower", there are many places to compare. Are intellectual women from China to Paris, veterans from Israel to Paris, fleeing the same thing? Stripped of the so-called "East and West" differences or gender identities, is it still similar confusion? France is a symbol of beauty and freedom, and a collection of concrete complaints.
There are many kinds of good-looking people, and the proportion of the male protagonist's body, which seems to be one-to-one in ancient Greek sculptures, really makes people admire the ingenious workmanship of the creator. He had nothing. On his first night in Paris, he broke through to an unfurnished apartment for the night, his backpack was taken away, and he almost froze to death in the bathtub, so he seemed to be reborn. He saw through the city early:
"The Seine is a test of the city, her beauty...a bribe for first-time visitors to keep them from going into vulgar places. There are no women or spectacular buildings, which I have not explored. The city is really what it looks like." In the first half of "Synonyms", the male protagonist, Covenant, stood on the bridge, bowed his head stubbornly, and said this to Emile, the real Parisian next to him. Aimille lives in a beautiful French-style apartment and is a second-generation bourgeois who wants to be a writer. At the beginning of the film, he and his girlfriend accidentally save the life of frozen Yoav. He said: "You're pretty good at talking, I'm not sure if there is a place you're talking about, but decaying and mundane places are actually everywhere, and this is what I want to write. "The Night of Delay", I wrote it to 40 It's over. Some of the scenery is so beautiful that if you don't see it, you will regret it for the rest of your life. If you look at it, it's just a river."
Such Paris has become the "Thirdspace" in the theory of the Marxist geographer Edward Soja. In this critical model of postmodern spatial consciousness, the real and the imaginary, the abstract and the concrete, the spiritual and the physical , everyday life and endless history all merge into one. The real or imagined space is, to some extent, created and shaped by the text. This kind of text in a broad sense is a contest of different tendencies, an intense interaction between language and the world.
On the bridge, Emile asked Joyav, "What do you want to do while staying in Paris?"
"I don't know, I want to be French."
"The reason is not good enough."
"Maybe I'll start writing like you, so why not wait until I calm down."
"In what language?"
"French of course...I'm not going back to Israel."
"Never come back?"
"Israel will perish before I die. I will be buried in the Père Lachaise cemetery in Paris."
Before that, he had buried part of himself. Yoav refuses to speak Hebrew to anyone, and giving up his native language is killing a part of himself. He went to the bookstore to buy a portable French dictionary and recited the words with him when he went out: "I moved to France to escape Israel, the country from which was 'despicable', 'disgusting', ' ignorant', 'idiotic', 'vile', 'stinking', 'rude', 'abominable', 'disgusting', 'pathetic', 'repulsive', ' Abominable', 'Narrow-minded', 'Bad-minded'".
"There is no such a bad country in the world, you have to choose one." Ameler smiled.
Yoav, who speaks fluent and weird French, feeds himself day after day with creamy tomato pasta in his humble rental house, and repays both mentally and physically an artist couple who supports him financially but has an empty life, ambassador in Israel When the museum was working as a security guard, he took the initiative to let the compatriots who were queuing in the rain to let go, shouted "the boundaries are gone, there are no boundaries", took humiliating photos in the nude model studio, and finally said "help me" in his native language, all of these , are all in a tense interaction with Paris, the "third space".
The artist couple also taunted Joyav: "It's ridiculous to always talk about France. How much do you know about France? Besides us, do you know any other French people?"
"Celine Dion," Yoav responded immediately. I can't help but smile, unable to tell for a moment if this is his dark humor. Living in Spain, I seem to be attracted by something. This year, I started to take French classes twice a week. I added a few paragraphs of memory in Paris like Paul Celan's 1952 short poem "Memory of France". Look at this The film brings in multiple subtleties.
This is certainly not a simple immigration subject. In the second half of the film, Yoyav asks Ameler to get back his story before the relationship completely breaks down. Although the following scenes did not really convince me, the text structure wrapped in the exquisite audio-visual language of the whole film and the problem of classic European perspective still make me think that director Lapid has won the Golden Bear Award this year. return. Many years ago, when I heard Zhou Yaohui talk about "using space to defeat time", I deeply agreed. When I really experienced it, I found that the meaning level of space is far more complex than imagined. In the ambiguous "third space", tired and disgusted, attracted and seduced, disappointed, struggling, repeated, restarted, and what remains after that is the world as it is, the original meaning of all words. In the end, only his story and mine were written in these words.
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