Some works have been seen, and people do not know what label to use to locate them. This is the case of "Frozen". There is crime, but it is definitely not a Hollywood commercial blockbuster with fancy contests between police and gangsters; there is humor, but it is definitely not a lighthearted comedy; there is a heroine who is pregnant and her married life, of course, it is definitely not a family movie. If the quality of this kind of work is more conscientious, it will always make people hard to let go after watching it, because it is impossible to find a shelf for it in the psychological film library, and put it together with the same kind in peace of mind. I've seen it, it's just an XX movie."
(Writing here, I repeatedly think of an anime that can’t be beat by eight poles. I took it out and twisted it, and it was "Rose Girl". After watching it for a long time, I couldn't put it down for a long time. I always felt that I saw something "very powerful", but It's impossible to summarize what it is. It's not just selling loli, it's not purely fighting because it's not bloody, and it's said that it's a male protagonist who has grown up without much leap. In short, everyone is welcome to discuss this work. The end of the crooked article .)
Another, or perhaps two, reason why "Frozen" is so frustrating is that it bares the mediocrity of real life for you to see, but then leads that mediocrity to a seemingly extreme absurd ending.
Mediocre first. I looked through the film reviews and short reviews, and said that they didn't like this film, and many thought that the visual perception was not good. Although the heroine is not low in appearance, she has a big belly from beginning to end and wears a loose police uniform. The male protagonist and the female protagonist's husband are both useless diaosi, and belong to the middle-aged grass roots that can be seen everywhere on the streets. The male protagonist's wife is a sloppy, obtuse aunt. Two gangsters, one talkative and one silently kills Matt. Even the images of the supporting characters, such as the prostitute being questioned, the mentally ill old classmates, and the residents who reported the crime, are too realistic to be seen. In contrast, the male protagonist's father-in-law and his lawyer, who have always been well-dressed and eloquent, appear to be very incongruous, which is even more ironic.
How can our eyes that have seen too many Hollywood-style lone hero and gangster films accept such visual stimulation? Look at those so-called "blockbusters". The police or secret agents want handsome men and beautiful women. The first shot is dance-like kung fu and various high-end equipment. Driving a high-end car to chase gangsters can also show off car skills. After the fight, you can still wear a suit or high heels with delicate makeup. The kidnapped victim wanted the pear blossom to take the rain so pitifully, and the messed up hair seemed to have been carefully styled. If the kidnapper is a child, congratulations, the angelic little loli can melt the kidnapper's cold heart with her watery eyes. Even the villain is crazy and cool with black sunglasses and high value. It is best to like listening to operas or reading obscure books, and just say a few words of philosophy.
Under such presuppositions, seeing this film is unavoidable. Just like photos without P pictures, or random passers-by interviewed on the street in the news, it is obviously the state that can be seen every day around them, and it is very uncomfortable to put them in the camera. Because we all have a psychological presupposition, "It's TV/movie/photo, how can it be the same as usual?" Not only because the picture lacks the "beauty" of idealism and romanticism, but also because we actually know in our hearts that this That's what life is for, and that's what each of us is like. What we don't want to see is ourselves.
In the whole film, two of the most impressive scenes are when the male protagonist's wife is kidnapped, he hits the shower curtain, and then rushes around with his head covered, yelling. The other is when she was released from the car, blindfolded, with her hands tied behind her back, wearing ordinary bloated home pajamas, and running barefoot in the snow hysterically, falling over and over. And the two kidnappers behind her just looked at her with mocking eyes, and they didn't even bother to stop them. Instead of looking at the prey in the palm of their hand, they were looking at someone who was more humble and weak than their own living conditions, ridiculous and pitiful. The presence. What makes people uncomfortable in these two scenes is that they neither play the role of the kidnapper, nor can they identify with the victim. In our hearts, we are often playwrights. Even if we encounter failures or misfortunes, we often imagine that we are the innocent and beautiful (female) protagonist who I feel pity for, the one who is owed by life. But the film says that the victims of life are mostly embarrassed, dirty and sloppy, flustered and broken. Life is about taking away your decency and dignity while taking away other things. So the policewoman's pregnant belly, her husband's bald head, the piles of worms in the bag, the TV in the hotel that can't receive programs... Some people say this film is too trivial, but in fact these details are nothing more than life. Your real appearance is only more boring, uglier, and more fluffy than this.
In fact, looking at this kind of film, it is very similar to the psychological changes from love to marriage to life. In the early days of acquaintance, I always hoped that the other party was a person who was so perfect that they could not eat the fireworks of the world, and I also hoped that I would give such an impression to the other party. It seems that in Lady Chatterley's Lover, the male protagonist tells the female protagonist that many women give the impression that they never excrete. I love you because you are a living woman who needs to eat and excrete. (That's the point, can't remember clearly.) How can two people progress to the point where they can show themselves to each other in every detail, and at the same time they don't mind each other? It's actually not easy. You must know that Li Ao and his first wife, a woman who is said to be like a fairy, also divorced because the man saw the woman's face flushed when he was in secret.
As for the absurdity, because the mediocre life in this story leads to a series of bizarre events. These events should belong to the "abnormal" phenomena designed in the artworks, but in retrospect, every link is reasonable and happened naturally in the current situation. Here I recall Yu Hua's short story "A Kind of Reality", and after reading it, I felt like I was stuck in my throat. What was originally a peaceful and ordinary family life, somehow developed into killing each other. The calm, ignorant, indifferent blood and darkness make people shudder, but they can't find an argument to refute the plot. It seems that every step happens with a plausibility. It seems that in the design of the animation "When the Cicadas Cry", the same plot is constantly reincarnated, and the stories on each timeline are slightly different. It is these details that cause different characters to become murderous demons in turn. I have seen many works like this, and I seem to feel that the "normal" life around me is just a fragile balance and illusion, and anyone may cross that threshold because of some opportunity.
Of course, you can say that not everyone will go to someone to kidnap their relatives, and not many people will chain saw to the people around them just because they are too noisy. But over the years, crime news caused by social anger has been commonplace. Originally an ordinary person, he would fight, stab people, and drive into people if they disagreed. This is an ordinary person who was killed and beaten for a small reason. They often think that when these people go out in the morning, they must think that this is just another ordinary day in their lives. Neither themselves nor their families would have thought that if they stepped out, they would become criminals, or lose their health and even their lives.
Even if it doesn't rise to such violent levels, aren't other aspects of life at risk? The policewoman and her husband seem to be harmonious and warm, but in fact, all the details suggest that their marriage is also maintaining a fragile balance. The husband said that he wanted to make breakfast for his pregnant wife, but his body was honestly unwilling to get up, and the wife behind him showed an undisguised expression of contempt. The wife didn't want to go on business, but she went happily after receiving the call from her old lover, but she didn't have time to meet her best friend. My husband has been painting those birds, but he can't see how much income and future this job has. At the end, he rambles about choosing only 3 cents stamps for his paintings. Instead of a domestic emotional drama, every plot here can become a fuse for quarrel and even divorce. But the two still maintain this imperfect harmony. Probably every marriage is the result of constant compromise and tolerance, the result of putting on a mask to perform. And every divorce is the result of finally being unable to continue the trick.
Always mediocre, occasionally ridiculous, and finding all kinds of positive reasons to deceive myself to continue, probably this is the life the director wants to tell.
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