This movie was obviously made for Bai Zuo to see, criticizing the problems of capitalist society. It’s a pity that I hurriedly turned to religion at this stage of the initial speed reading of Marx and Marx, but did not succeed: "In the capitalist economic system, the biggest flaw is that manpower is regarded as a factor of production: individual people are alienated in the production process, equivalent to machines, Production factors such as patents or real estate...The human emotions and experience are deprived... Why does Li Jiangdao believe that Jiang Meishan is his mother? Can't you give me more if you sing a lullaby where mother and son recognize each other in the play? Next, the mother eats the meat of the child, and the mother and child copulate. The drama is so crude, and it despises the audience. Three or four hundred years ago, an aria ("Norma" Bellini) was enough to impress the audience, but the movie is not a stage play. The stage director is ready, do you want to make a movie that your mother forced? The film director should take more convincing actions to show the characters and the relationship between the characters. These three actions are performed in the same place at the same time. I think it is not too wrong to say that it is a scene. As a result, one drama is enough to complete the drama task. Is it too confident or too contemptuous of the audience’s IQ? I believe it is my mother after singing a click, it’s too perfunctory... Although the recognition of mother and child is not the most important action in the movie, you should be more elaborate. Even if it's a narration, the level of that lullaby and "Casta Diva" is 10,000 different from Wallace? Eating meat and rape can't constitute 100% persuasiveness. Li Jiangdao looks stupid when he puts on eyeliner, but the stupid believes that Jiang is his mother so casually. Could it be that a Lacanian story is so high that it can't be disputed? Before that, the phone call that Li Jiangdao made to Jiang Meishan, and the rants that Jiang Meishan made at the beginning of the story are called supplementary narratives in the play. The use of supplementary narration in the movie is really not a clever trick. This film can be regarded as a contemporary Korean version of "The King of Oedipus". "The King of Oedipus" is a supplementary narrative structure. Kim Ki-duk should have been poisoned by Sophocles. This is not to say that "re-narrative" is wrong. A narrative method can only be applied to an appropriate form of art reproduction, and vice versa. The movie is to watch the actions of the characters on the screen, not to listen to you talking about the past. Things that happened. When directors like Wong Kar-wai, who play the obedient card in the play, want to use supplementary narration, they must shoot it and put it at the end of the film, even if it is just a long shot. (At the end of "The Story of A Fei", Pan Dihua recalled the long shot of adopting Xu Zai in the hospital many years ago), not that Wong Kar-wai did a good job, but that even directors like Wong Kar-wai know that supplementary narratives on the main line of the story require great care Dealt with. No matter how bad it is, the writing is bad, and when it is necessary to use it to fight fires in the drama, it is also to be filmed anyway. The audience sits in the cinema and listens to the actors forced to talk about the ins and outs of the main plot. It is better to go to the theater to watch a stage play. Speaking small is a matter of drama, and talking big is a question of film concepts. Movies are "referential", not "significant." The Chinese-speaking film community often doesn't understand this problem, and mainland films are especially hard-hit areas. Assuming that the music that the mother and son recognize is removed, the two recognize each other dryly, like an old lady. Therefore, another issue that extends from the perspective of the drama: mother and child emotions are not enough, and it is unreasonable to build such a deep emotion in just a few days. The director also realizes this, so he tries to establish some ambiguity. (Jiang gave Li masturbate and Li ran to sleep with the "mother"), but the problem is that the director is very hesitant at this time, not knowing where this sex should end. The result was that Li said to his mother "...If you suddenly disappear, I won't be able to live... Judging from the play, Jiang Meishan's actions are like a punishment, but they are the personal initiative of the female number one. It's okay if Jiang Meishan doesn't know, either mother and son, lover, or both. But knowingly, the arrangement of such revenge in the play is very deliberate and artificial (because it takes care of religion, especially Christianity, then where is God at this time? Such an explosive action was actually arranged by Jiang Meishan himself. ), it is not logically reasonable. Of course, half of this problem is caused by the problem of unclear narrative perspective. The bad thing about this movie is that there are too many objective viewpoints. The audience knew the ins and outs of the matter too early, and at any rate they should put the reversal on the audience after they fully accepted Jiang Meishan. Back to the premise of the eyeliner Li Jiangdao: from the actual situation of the debtors shown in the film, this is insurance fraud. Since it is a fraud, the debtor will have the consequences for the whole incident (insurance fraud) from the very beginning. It is understood that, in fact, the debtors are also conspiring to some extent, because each other has a share of benefits. In order to get 30 million yuan, Brother Guitar took the initiative to cut off his palm after Li Jiangdao gave up the insurance policy. In this incident, Li Jiangdao was just an accomplice, and he was an accomplice if he died. The younger brother and the boss were complicit. In addition, the uncle who jumped from the seventh floor had an unreasonable motive for jumping off the building. It seemed meaningless and damned. Assuming that the house demolishing made 50 years of hard work wiped out, and the idea of jumping off the building arises. Why is it that you will die after borrowing usury? Want to solve family financial problems? Didn't explain, and don't dance sooner or later, and die in front of Li Jiangdao within a few days of being handed in, is it just to add to Li Jiangdao's heart in the drama? The purpose of this drama is too strong, it is so strong that it is a joke, a drama is written like this, it is also incompetent to despair. Jiang Meishan's subjective behavior also caused logical problems in the actions of the characters. Of course, half of this problem is caused by the narrative point of view (play) and the character point of view (film): Jiang Meishan has been omniscient in the process of revenge (narrative point of view issue), but she is not the point of view of the story. To put it more bluntly, the drama at the heart of the film was not placed on the point that Li Jiangdao did not know it. Maybe the director is too high, disdain to pursue traditional style, and ended up falling into the pit of his own planing. The other half is caused by drama problems. The problem in the play lies in Jiang Meishan's subjective revenge behavior, and because of the vague sexual description, this person appears to be split in personality, but the story is not dealt with by Jiang Meishan as a character, so this split cannot be stitched. You can only choose one: either you talk about incest sex, or just talk about revenge, it's hard to have both ends. speak In terms of revenge, the object of narration is ideology. If you choose the latter, according to Bolshevik values, Jiang Meishan should go to the revolution. According to Baizuo values, she should ask God and forgive the bad guys, and then go to Africa to volunteer for half a year and return to China with full of positive energy. Later, He Jiangdao lived a sweet life without shame or shame, and it was proper. What is the significance of a middle-aged and elderly woman who fell in love with a young man and died as a martyr? Mom forced you to be so lucky that Li Jiangdao loves you? The audience did not recover, you just jumped. Anyway, you can only believe it. It seems that Director Kim’s methods are not much better than those of the Propaganda Department of a certain middle school. Looking back, if you choose the former, it will be difficult to take care of ideology, and Director Jin can't explain it clearly. This problem in the play was maximized when Jiang hit the boss's mouth. If you want to create the illusion of being kidnapped over the phone, you can fan yourself. Why do you have to call the boss to take care of the ideological theme? Reveal how heinous capital attention is? Even if it is put on the ideological theme, Kim Ki-duk must have realized that if the theme is put on ideology, Li Jiangdao is an unknowing and tragic factor of production in the capitalist system, but the premise of the film is based on a An insurance fraud incident that everyone conspired and participated in. The contradiction lies in this place: because it is a collusion, from the point of view of Christianity or any religious value system: these sins cannot only fall on a certain person in the system. There is no first evil in this story. Everyone is conspiring. Profitable. Not only Li Jiangdao, everyone is guilty. So it's really impossible to ask the boss to do something bad to Zhang Meishan, so the boss blasted her away after a few mouthfuls. If you continue to write, you will digress. On the other hand: So Jiang Mishan would say: "...Jiang Dao is also very pitiful... It shows that the director is greedy on the subject, and he wants to talk about it but didn't make it clear. Moreover, this sentence is also very smelly. This important emotion should be transformed into a plot display, rather than let Jiang Meishan recite the lines. In this scene, Jiang Meishan's character is maximized. I privately thought that Kim Gide might have the ability to write a great drama to show this emotion. But what he hesitated is that if Jiang Meishan agrees with Li Jiangdao in a certain scene, it will seriously shake her determination to punish Li Jiangdao by suicide. The story is another theme and ending. The most uncomfortable point in the play is the climax. Li Jiangdao tied himself under the truck chassis to make atonement. We will not discuss whether this action is reasonable or not. If it is reasonable, it should be Li’s passive behavior rather than the initiative, because Li Jiangdao and the audience at least know that in the process of usury insurance fraud, everyone is conspiring and all have benefits. Is a sinner. Therefore, in the ending part of the story, Li's death in a truck should be at least a passive selection process. Otherwise, his motives are unreasonable. If he wants to die, he should die at the scene of jumping off a building or under a tree. Otherwise, he is suspected of forcibly raising the subject. Assuming that he takes the initiative to atone for everyone, then Li Jiangdao is completely a saint, and his religious consciousness is too high. As a non-Christian (the film does not say that he is a Christian) to be able to do this, there is still a key scene missing. Because you can't say that it was this loan shark who listened to the monk in the temple next door eating fast and reciting the Buddha every day, and he was able to cultivate at ease without a teacher. Why is he enlightened? Why should I die of consciousness instead of the guilt of killing my brother? Politics is a specific code of conduct, while religion is a value, the relationship between metaphysics and metaphysics. Suicide atonement is metaphysical, and consciousness is metaphysical. The whole film does not see where he is enlightened and determined to redeem his sins. So the act of suicide is quite debatable. Looking at it further, the debtor’s hatred towards Li Jiangdao was written deliberately and far-fetched, and the contract was signed with the usury agency. Li Jiangdao is just a horse of the boss. Anyone who knows how to borrow usury knows the relationship. When signing a contract or contract, it should be clear. The basis for paying ten times the principal is a piece of disability insurance. This is also the purpose of deliberately avoiding the specific work details of Li Jiangdao in the film. The problem lies in deliberate avoidance, not artistic omission. Kim Ji-duk’s intention should be like this. Assuming that this relationship is to be blurred, then it must be done thoroughly and become the character background. It cannot be written as a specific character action, let alone the boss. Otherwise, the audience always has questions, since it is a conspiracy, why the debtor hates Mu Renzhi so much, but appears indifferent to Huang Shiren. But at the same time, another question arises, whether Li Jiangdao is Ma Tsai or an independent loan shark creditor or a creditor agent Assuming this is the case, Li Jiangdao’s business is quite large, and he has upper-class social status almost every minute, which is inconsistent with the character setting. Going back to the discussion just now, it is reasonable for Li Jiangdao to die of guilt because of his "brother", but he shouldn't die on the truck. To die on the truck requires at least one scene, otherwise Li Jiangdao would not be able to realize it. Privately thought that Kim Jade thought of the scene of the truck dragging the horse to death should be extremely excited. This scene is also relatively beautiful and elegant, but far-fetched. At the beginning of the story, several shots focused on the Christianity outside the window, but the final point has no obvious relationship with Christianity, and there is no reason for Li Jiangdao's heavy punishment. Supposing that from the perspective of Christian values, it is conspiracy to confirm that everyone is guilty of this matter (in fact, the fact that many borrowers are not strong in revenge is also acquiescing to the fact that conspiracy), then Li Jiangdao should have died to wash everyone off. In terms of the amount of information currently displayed in the film, this subjective action is far-fetched. Another point is that after Jiang Meishan jumped off the building, Li Jiangdao immediately dug his grave. (Privately, this film is more or less a story under the frame of realism) Realism movies shouldn't have such a romantic drama treatment, from the perspective of theatrical purpose. Jiang Li's mother and son are deeply affectionate (assuming that Kim Ji-duk is finished), doesn't Li Jiangdao want to see who killed his mother after a long absence? If you watch it, the old woman is going to die again. Who buried Turijiang Misun's son? Jiang? Judging from the camera and editing: Did Li Jiangdao find the corpse of Jiang Misun’s son in the lathe shop. The director should have left room (maybe another plan was written in the script, and his brother was found), Kim Ki-duk must also think about it. He found that sweater after he opened the refrigerator, so Li Jiangdao would sleep in his "brother" shop. All his dramatic actions at that time were looking for his mother, not confession, unless he saw the sweater wearing. On the body, does he still want to die after seeing it... What's more, as mentioned in the previous article: Jiang Li's mother-child relationship is not able to withstand scrutiny, and this is the problem. Anyway, 56789 has a lot of problems, and I didn’t bother to write it. In short, a very unreasonable story, drifting between unreasonable and reasonable, was reluctant to write such a story. An investor who was not very clear-headed paid for this film. The result was a Golden Lion Award. Alas, before 1945, Golden Lion often awarded awards to the Axis countries. Some films were good and some were mediocre. It seems that there are many Venetian politicians. Finally, let’s talk about the audio-visual of the film. Generally speaking, Kim Ji-duk doesn’t have too much money to make the film. Photography and art don't criticize him. After all, there are very few directors of literary and artistic films who have the ability to achieve Wallace's audiovisual level. Shooting is given 40 points. The problem of focal length selection is the biggest problem. I barely pass the lens. I don’t talk about the lighting. I don’t have much lighting. I don’t pay attention to it. There are only necessary light effects and a reluctant scene atmosphere. Art originally wanted to be so-so, but still couldn't help but lose points. Mainly on the character modeling, Li Jiangdao’s dark image is understandable, but that kind of smoky eyeliner is either a cowboy or a Low B transgender who often goes to public toilets and does some work (don’t get me wrong, it’s not discriminatory against transgender people. I have a lot of friends who are transgender, but generally speaking, it is not a good bird to draw eyeliner and draw not good-looking.) For what they do, classmates who are a little bit old know Korean HOT, so Li Jiangdao wrote on the biography Is it a stumbled young man who has been obsessed with HOT since childhood? Ma Tsai drew a eyeliner and went out to collect debts. This looks like a stupid who failed to graduate from junior high school. If you find someone for money, you will easily be discounted by the debtor. Just this 60 points are deducted at one point. Since I watched it on the Internet, I won’t comment too much on the voice. Let's talk about the next 1080 look. Here, simply make a comparison. It also involves religious and ideological themes. Ceylon, the director of the land country, is obviously much more mature and sophisticated than Kim Gide, and more relaxed. Interested students can use this film to compare "Hibernation" and "Once Upon a Time in Asia Minor" Transgender (don’t get me wrong, it’s not discriminatory against transgender people. I have many friends who are transgender, but in general, it’s not a good bird to draw eyeliners and not look good.) For things you do, look at your classmates who are younger You all know HOT in South Korea, so is Li Jiangdao a miserable young man who has been obsessed with HOT since childhood? Ma Tsai drew eyeliner and went out to collect debts. This looks like a fool who failed to graduate from junior high school, so he finds someone to ask for money. It is easy to be discounted by the debtor, and for this alone, 60 points will be deducted. Since I watched it on the Internet, I won’t comment too much on the voice. Let's talk about the next 1080 look. Here, simply make a comparison. It also involves religious and ideological themes. Ceylon, the director of the land country, is obviously much more mature and sophisticated than Kim Gide, and more relaxed. Interested students can use this film to compare "Hibernation" and "Once Upon a Time in Asia Minor" Transgender (don’t get me wrong, it’s not discriminatory against transgender people. I have many friends who are transgender, but in general, it’s not a good bird to draw eyeliners and not look good.) For things you do, look at your classmates who are younger You all know HOT in South Korea, so is Li Jiangdao a miserable young man who has been obsessed with HOT since childhood? Ma Tsai drew eyeliner and went out to collect debts. This looks like a fool who failed to graduate from junior high school, so he finds someone to ask for money. It is easy to be discounted by the debtor, and for this alone, 60 points will be deducted. Since I watched it on the Internet, I won’t comment too much on the voice. Let's talk about the next 1080 look. Here, simply make a comparison. It also involves religious and ideological themes. Ceylon, the director of the land country, is obviously much more mature and sophisticated than Kim Gide, and more relaxed. Interested students can use this film to compare "Hibernation" and "Once Upon a Time in Asia Minor"
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