What is madness and what is health? Does Dumont himself have sympathy for Camille? You will never know the answer to these two questions just by watching a movie. Paul Clodale, one of the most controversial Catholic writers of our time, who appears two-thirds of the way through the film, is likely to be the real protagonist of the film, and Camille is the vessel through which he practices and refines his spirituality. Just like the heroine Mary in L'Annonce faite à Mary (and Camille is also a child of a devout Catholic peasant family), the first scene of the film is Camille taking a bath. Bathing is baptism, baptizing Camille with water because, God name, the God in this movie can only be Paul. As soon as the words "tout est parabole" were uttered, Camille's subsequent fate would not have to cost more film.
A director like Du Meng is indeed extinct, and any images and emotions created by his hands become more condensed, solemn, and even more silent. When Camille entered the living room for the first time, he looked at the sunlight outside the window. There were two patients beside him; one twitched and the other was sluggish. Camille looked at the lunatic and then at the sunlight. The camera looked at the light and shadow before looking at Camille, Curry, and Shaw. That's how the husband effect came out. Binoche, who is a hundred years younger than Camille, looks more camera-like as he gets older, but this camera-feel is not that of Epstein's so-called neurosis, but a kind of camera that uses the least force and the fastest speed. With a talent for absorbing all external stimuli, she can switch emotions between laughter and laughter effortlessly, as if she has released some of the inner dynamism of the image at once. With the sword in hand, Du Meng is still very cautious in his shot timing, but misses are unavoidable. For example, when Camille was seeing the patients and the people were rehearsing the scene, his emotions were up and down. The intention of designing this scene is, of course, to give Camille's "crazy" Looking for a reason could easily be seen as another shallow defense of the proverbial tragic protagonist.
Paul Claudel's appearance was a little embarrassing, as if he was afraid that the French audience in the 21st century would not know him, so in less than 40 minutes, he kept reciting the words of various writers himself. Although it was unfortunate, But at least the theme of suffering that is gradually superimposed in the film is full. Du Meng did not use too much false force at the key point of the plot, but internalized the suffering, and the suffering turned from reality to mystery, which fulfilled Claudel on the side. To the monk: "I became a Christian not because of grace or mystery, but because I wanted to know what God expected of me." In Camille's captivity and resistance, the failure after resistance, and the silence after failure, a God who is both speechless and unspeakable is always present; "God is not above us, but below us."I don't know why Dumont didn't quote this famous Claudel quote, but Merleau-Ponty Not missing this passage when writing The Sign, he remarks: "God, as another of ourselves, preserves and confirms our obscurity." Transcendence no longer hangs above man; we are, miraculously, to be his chosen heir. "
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