Part 1: Love is the eternal homeland The predicament and confusion of the poet and hero of "Eternity and a Day" are the same as all the world-weary: "Why do things always go wrong? Why? Why do we have to stink, hovering between pain and desire? Why have I been drifting all my life? Why... we don't know how to love? " Maybe there is a poet in the hearts of world-weary people, obsessed with finding that imaginary spiritual homeland, building their ideals on the sea, but increasingly He discovered that the world was far from ideal, so he exiled himself in loneliness. The male protagonist of this work is obsessed with the poetry and language of Gensokyo. He has been accompanied by words all his life, but he has not been able to accompany his relatives and lovers well.
He is always "beside his wife and daughter, but his heart is elsewhere," or "Isolate yourself and refuse to interrupt." He never looked into the eyes of his relatives seriously, listened to his mother's pain, or tried to understand his father. He was hijacked by his own pain and ideals, which blinded him so that he could only see himself. The naivety of the poet is that he is obsessed with finding that imaginary hometown, building his dream on the sea, not by his side, and creating a real hometown in the love of specific people. Compared with the poet who is banished from his ideal hometown, the little boy in the film is one who is banished from his geographical hometown.
The latter inadvertently guides the poet to the truth and the sweetness of life. In the process of showing love to the little boy, in the trust, attachment, innocence, and joy in the eyes of the little boy who has been away from home and suffered so much, the hero finally obtains the overall view of love, looks back on his life from a new perspective, and perceives the present moment. Plan for tomorrow. On the night of saying goodbye to the little boy, the poet finally got out of control and shouted "stay with me," hoping that the little boy could stay with him for a while. At this moment, the poet returned to the language of life, returned to the truth, and faced his real life. Loneliness and need. He is no longer full of metaphysical pain and ideals. He finally discovered that he needed love, and that he needed to connect with specific people. It turned out that without solid life support, even the precise words could not build a road for him to his hometown. part2 The child is playing with sandbags at the beach.
The poet, who is nearing the end of his life, asks the question, "How long will tomorrow last?" at the end. His wife Anna once answered him: "One more day than eternity." This is also the title of the film. I did not expect that a passage from the Indian philosopher Krishnamurti would fit so closely into the film's temporal imagery: "Ask yourself to find out the truth. Is there ever a tomorrow? "-except in thinking about planning for tomorrow. So tomorrow is the time for ideas to be invented, and what would life be like today if there was no psychological tomorrow? Then there would be a great revolution, wouldn't there? That would radically change your whole operation, wouldn't it? Then you are completely whole. You no longer project the future from the past through the present. That means living; it means dying every day. Do it, and you'll discover what it means to be totally present. Isn't that love? You don't say, 'I'm going to love tomorrow'; you either love or don't love. Love has no beginning and no end; sadness has a beginning and an end. Sadness is thought, just as happiness is thought. So we have to figure out for ourselves what time it is and whether there is a state of "no tomorrow", which means living. Then there will be eternal life, because eternity has no beginning and no end. " Love gives meaning to time.
To know the lover, and to know what love brings into perspective: in the light of love, we feel gifted with a wonderful sense of past, present, and future. " At the beginning, time is likened to "a child playing with sandbags on the coast." We all forget how we perceived time as children: time does not pass second by second in Beijing time; time is play, caress, cry, and a daze in itself. Time is the texture of life. Time does not flow strictly and neatly like the hands of a clock. The time we perceive is sometimes a vast expanse of emptiness and chaos, sometimes an abyss of emptiness and confusion, sometimes like a long drag. Walking alone in the rain, sometimes there are pauses caused by sudden flashes of aura, and sometimes it also becomes eternity in love. The viewing experience of "Eternity and One Day" is so in line with the texture of real time that he does not use dramatic forms to cover the real The sense of time—there is no neat narrative technique to give the film its refined form, without the use of twists and turns and climaxes to engulf the film. The last scene is the dance of the hero and his wife, Anna, on the beach in a dream. The sun is bright and everything is clear.
One day with the little boy may be the last day in the poet's life. On this day, the poet finally disperses the fog, enables us to understand the past, present, and future in the light of love, and turns one day into eternity. The scenes in the film are full of fog, which is like the hero's obscuring of his own life. In the final scene, the dance of the male protagonist and his wife Anna on the beach in the dream. The sun is bright and everything is clear. The day spent with the little boy may be the last day of the poet's life. On this day, the poet finally dispelled the fog and understood the past, present, and future in the light of love, turning one day into eternity.
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