American animals is an unsuccessful conspiracy. It is like the youth of each of us. A bad thing, with a process and a cause, becomes a lovely stupid thing.
The sin of ignorance. Ignorance is not an excuse to reduce crime, but American animals make people feel embarrassed, because it takes everyone’s hand and draws the lines between “bad” and “stupid”, “dream” and “dream” on the page of youth. The thin gold thread between "greed". Or maybe we haven't painted it, because when we look closely, it is a lively watermark that is difficult to distinguish between black and white. American animals make people nostalgic, reminiscent of their own past, the past of the times.
When four people dressed up and stepped into the library for the first time but gave up anxiously because there were so many people on the side of the administrator, this kind of feeling of being prepared, even over-prepared, but not harvesting, this is not youth . This paragraph I pinched myself in my heart, it really is true.
The close-ups of birds of prey and birds in the film are particularly impressive. The fierce eagle hooked into the helpless rabbit with its sharp claws. Red blood stains, golden beak. The eagle's eyes widened with anger, in the middle of nowhere, the son of nature, a life-and-death battle. These birds became the icon of this film. It all started when Spencer stared at the flamingos in the classics, and finally ended when Spencer became a painter who specializes in painting birds. Birds are American animals, and the four protagonists are also American animals. There is no more difference between animality and humanity under impulse.
What I find most enlightening is that American animals emphasized (or even teased) the stories in the memories of different protagonists. Parallel juxtaposition of the perspectives of the protagonist's events of the year, this kind of omnipotent information exposure is a very luxurious experience. Ordinary people experience things mostly from their own perspective and their own memories. They rarely have the opportunity to gather all the participants together and hear different perspectives, senses, memories, and experiences of the same story without negotiating with each other.
This unique way inspired me two things.
The first is the plasticity of human memory. "It turns out that our memory is so unreliable." The parallel juxtaposition of Spencer and Warren's perspectives often makes people laugh. For the same thing, two close friends can have such different impressions. If the truth is a box of 2000 puzzle pieces, then after listening to the narration of Spencer and Warren, it is equivalent to 4000 pieces of puzzles, and the final restoration of the movie is to try to piece together from so many repetitive and overlapping puzzles. The original 2,000 pieces of real drawings. The truth belongs to the universe, just like the truth; but the story belongs to everyone, the story exists in everyone's heart, the story is alive, the story dances, grows, ages, and annihilates. We have created stories, and stories have made us.
The second is the possibility. It is precisely because of the deviation of memory that the movie highlights many "possible" scenes, both true and false, making it difficult to judge what happened. For example, the New York operator, is it a middle-aged man in a casual purple scarf and ponytail, or an old man with white hair in a straight suit; for example, did Warren go to Holland to meet a buyer? These details not only inspire my inferences about the story, but also make people think, "Is it important?" Many movies let people fill in the gaps in the story by leaving blank space, but American animals use the explosion of information and over-enrichment. The possible scenes are presented one by one. Perhaps these true and false details are not important at all. Four people, each of whom is a rope, tie a knot behind their own experience, and then smoothly weave it into a whole web of conspiracy. The real image is not important, because there are more important things than the real image: trust, friendship. Because of trust, Spencer took Warren's words, and because of friendship, they dance in each other's storm. If it is really one-dimensional, then trust and friendship are two-dimensional and three-dimensional. Four people stand up and run around.
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