nice!

Ettie 2022-11-23 21:42:32

The title of the film comes from the epilogue of Bergman's film "Fanny and Alexander": "When the night falls, all the evil spirits are all around...". The writer/director is a woman, and I'm guessing she must be gay.
For a work, whether the author is male or female cannot be concealed. When it comes to subtle gay works, it's clear at a glance whether the author is straight or curved. The most obvious manifestation is that the lily-oriented animation also has a male-to-female orientation, and "The Virgin" and "Blue" are not written by men anyway.

The heroine Camille is a theology teacher, and her boyfriend of three years teaches at the same college. One day, her beloved dog died, and she put his body in the refrigerator. In the laundromat she couldn't help crying, and a woman Patricia went to comfort her. This is the beginning of the encounter between the two heroines.
The setting of the story is very interesting. Camille's personality is gentle, rigorous, and fragile. She has a beautiful face that is kind and vulnerable, and she is a teacher of theology. Discussing ethical issues is her homework. And Patricia is a black woman, a circus performer. The black tights wrapped tightly around her soft, shapely body and performed a seductive dance in the shadow of the lights. This was the first time Camille went to Patricia to get back the clothes that had been picked up by the wrong laundry at the laundry. .
Patricia invites Camille to her RV, gold leaf and fur decorate her residence, wandering and gorgeous, gypsy girl. Wonderful round-bottomed glasses with whisky swaying gently on a wooden table. Patricia bluntly expressed her admiration for Camille.

"It's not that I don't love Martin, it's just that it's better to be with her..." Camille said bluntly to herself. Before that, her life was static, and her soul was subtly bound to her body and her daily life. She has a boyfriend who also teaches at the seminary. She inherited her father's work and devoted herself to religion. She is dedicated to her work and is appreciated by the pastor. However, she also drinks kirsch in private, casually (not intentionally) talking about the relationship between rock music and orgasm in front of the priest. She has a part that is not appropriate for her daily life. Although she is suppressed by daily life, she is still stay in her soul. These things are seduced by circus boho girls.
Patricia is like the wind, straightforward and enthusiastic. She wears a top with patterns and sequins showing her entire back, and no underwear. This is the first time I realize how attractive it is to dress without underwear. The name of this glamour is not sexy, but freedom. Free and lonely gypsy girl.
Patricia loves Camille's kindness and vulnerability, and she was instinctively drawn to her when she first met her. In order to meet again, she deliberately took Camille's clothes and left her business card in her clothes bag. And Camille was indistinguishably attracted to Patricia, and she couldn't even tell where the attraction came from. Her love was a betrayal of her existing life and an affirmation of her heart, just like the beginning of the film. In the same way, the woman was swimming in the water, but she encountered a thin layer of ice. Now she started tapping against the ice. First because of the dead dog, then the girl I met because of the dead dog.
The girl took her to glide. Although she sprained her leg because of it, she felt fine. This girl subverted her concept. Dancing in public is immoral, shameless, and undignified. "Dignity? What's more dignified than dancing with someone I love?" Patricia said. Camille couldn't deny it. She couldn't deny herself, even though she was a teacher of theology, she could not help defending homosexuality even when she knew the correct answer when faced with being raised as gay during an interview. Attracted to Patricia, she resists weakly, trying to find something new from her boyfriend. But the new thing is not in the existing life, but in Patricia. On the one hand, she was bound by her existing thoughts, but on the other hand, she couldn't help but ran to Patricia. It was a very interesting emotional exchange.
"But I'm fascinated by you." Patricia told her bluntly, when Camille said that we could be ordinary friends. Camille's answer made me laugh, "It's okay, we're humans, not animals."
Camille naively thought she could restrain her lust and convince herself that she could be friends with Patricia. While her words were brilliant, they pointed to the wrong point.

People are different from animals because they are different from the body because they love each other in the soul.

A circus cannot stay in a city for long. When Camille's boyfriend came home early and was in a daze in the empty house, the two girls had an intimate conversation and made love. Wake up in a garage with fur and gold leaf, crimson velvet covering them. Patricia stroked Camille's face and poured out her love. She loves her fragility, her wisdom, and the occasional sadness in her eyes. And Camille couldn't even tell what she was attracted to Patricia. For her, Patricia was just a vagrant, but she liked to talk to her, like to be with her. Camille said bluntly, "I love you".
The immutable old city and the mobile circus are very subtle, it is the traditional Camille who decides to leave together, not the free Patricia to stay for her.

Many situations of the story are full of metaphors, but as far as the pull-ups are concerned, it is also a moving story. The plot is slow, the story is full, the music is appropriate, and the situation is beautiful. Especially some of the bed scenes are so beautiful that people suffocate. I think beautiful things are close to poetry in terms of influence, and the sex scenes in this movie are as beautiful as poetry.
The body covered in crimson velvet alternates with scenes of a pair of girls dancing in the air. Love between women is inseparable from making love, because it is about the soul. Even though we have a peaceful routine, a boyfriend who is not unloving, our own rhythm and our own pace that make up our whole life, we will still at some point be swept away by a mighty current, a mighty The power of attracting the past. Even resistance is pointless. Even if you are a Christian teacher it is meaningless, even if you believe in God, you cannot resist that power. Maybe that power was brought to you by God himself, right?

world, women. In my logic, they are antonyms. Soul, female, this is a pair of synonyms. World, soul, well, another pair of antonyms. Theology and the Circus. man and woman. Priest and gypsy girl. love and life. The soul that swims in the water under the ice, albeit thin ice. Don't dig up the metaphors in the movies, and neither can the poems. So is love.

When I watched "Blue Sea" two years ago, the subtitles were translated wrong. The truth is that Toto said bluntly to Kirishima, "Even though you like me so much, that man is more important to me." She couldn't go anywhere, and she said to Kirishima, who had not experienced pain, "Let's go to Tokyo. ."
Despite being a lily, this story chokes me more about the pain of youth. At that time, I was unrequitedly in love with a person, and my youthful love for her was mixed with the pain of youth, making me seem to be trapped in a blue wheat field, walking continuously in the tall grass above my head, boundless. Boundless.
Now that I'm watching this movie, I've just been buried in a relationship. It begins as if walking in the boundless wasteland and being struck by lightning, the mighty current of fate. I therefore understand love at first sight and this movie very well. At the end of it, it was probably like walking to the edge of a cliff without knowing it, and fell down before he figured out anything.
Now I hate the man who got me here. Because there is no way to hate the powerful current of fate.

When the night fell, all the evil spirits were all around. Do you continue to hide in your own house, even if your life has been slightly cracked, go out, even if you can't see the direction after you leave. Lu Xun said, what happened after Nora left? That will be the subject of a new novel. I'll let you know when I know. It's just that the night is falling, and the changes have already appeared. The current of fate has caught you. Now you have to run away, you must run away, you can only do this, there is no other choice.

Even after falling off the cliff, I was left in boundless loneliness.

What will happen to Camille after Patricia leaves? Will they be able to stay together for a long time? Will they break up? The gap between concept, background and education is so huge, and it is only tied in the direction of the soul. Can it really withstand the daily training? These issues are put aside, and only one point is said. If they were separated, would Camille return to the old town where she had been living to be her theology teacher?
- Absolutely not.

Destiny befalls a person, from the heart to his life, his daily, earth-shaking changes can happen in an instant. This coming of fate can come in many ways and in many faces.
Of these, the most elegant and beautiful is undoubtedly the love that ignites the soul.

But on the contrary (this has nothing to do with the film), the most tragic and displaced is also love. "Because I once loved and lost," Patricia told Camille, when the circus was leaving tomorrow and they were breaking up. This short line also gave me a deep shock.

View more about When Night Is Falling reviews

Extended Reading

When Night Is Falling quotes

  • Board President: So, we've covered abortion, church and state, predestination, drug abuse, prostitution - ah, yes, homosexuality. How do you approach the homosexuality problem, Camille?

    Camille: Well, um, I'm not really sure I'd consider it a problem.

    Martin: I like what you said over at Tom's, Camille said that it's important to love the sinner but hate the sin, so that you're allowed to feel the desire but not act on that desire.

    Camille: Well, in hetero - in retro-spect, sorry - I've come to think that there's a lot of room for multiciplicity in God's creation.

    Reverend DeBoer: You are aware that that is contrary to doctrine in this matter.

    Camille: God... God cannot be so cruel as to decree that people like... like that can never, ever be contented. I mean, one's devotions are not entirely chosen.

  • Reverend DeBoer: Yes, I think we have been guilty of homophobic cruelty, and, excluded people like you, in the past.

    Camille: People like me.