The 4th screening day of the main competition unit of the 11th#Faro IslandFilm Festival# brings you "Spirit of Mongolia". The following will bring you the vast and far-reaching comments of the frontline grassland herdsmen!
cost wood:
Poems written on the vast expanse of grassland. There is confusion and nostalgia.
Grid artist:
The conflict between modern and ancient times, the director's flow of photography on the basis of his deep intentions, and the rendering of emotions are all done to the extreme.
River：
Weird, timeless, and beautiful, staring at the vast Mongolian land with poignant and reverent eyes, transcending the constraints of national boundaries and zz. Many wonderful pens, endless aftertastes.
Not a rabbit slot:
The beginning of modern civilization's intrusion into the nomadic spirit, discussed before Wanma Caidan's "Talo" and "Balloon", cultural aphasia and intrusion into a state of rootless confusion.
swipe:
The confusion after the invasion of modern civilization, and the nomadic ideals that still adhere to. Maybe it's because I don't know much about this culture, so I don't like it that much.
Sparrow：
Civilization and nostalgia in the process of modern urbanization are also reflections on the fate of the Soviet Union after the disintegration of the Soviet Union. When traditional life collided with an unknowable future, regrets still manifested. Genghis Khan's torture, family planning embarrassment, and the daze in front of the TV were all struggles of individual destiny.
George：
There is a certain gap with my expectations. It is either the Mongolian spirit or nostalgia, and is it the surrealism that Hong Sangxiu learned here? It's really beautiful to walk through the red umbrella, and all the places are well done, but I can't tell, maybe the mood is wrong, it feels bad, maybe it's because I don't like that "sense of humour".
Fruit trees:
Chinese films by master Mikhalkov. The vast grassland real scene, if you can see it on the big screen, it must be quite shocking (just like the Siberian Lin Haiyi show in his lens). Regarding how the traditional spirit is preserved in modern times, the film does not give a direct answer, but conveys the theme of continuation with the final ending.
I know a little about her:
The Mongolian spirit is rebellion and fusion, tradition is replaced rather than annihilated, hospitable and honest and kind, it is meeting ancestors in a dream, chasing after a wife after the Cold War, experiencing new life in the city, and exchanging in the grasslands. Life is a confused gaze, a bold answer, a continuation of thought, and a revival of nostalgia.
Midnight no one:
At first, I thought it was a proposition about the opposition between primitive society and civilized society in the traditional exotic cultural theme. Yurts and off-road vehicles, breeding desires and condoms, and abandoned TV sets in the wilderness, but when you look at them slowly, you will find that all the curious symbols are just a glimpse. Once you connect the historical background at that time as a real perspective, the The people who are suddenly sluggish and weeping in the noise of the dance hall come from the collapse of the system, the prairie isolated from the world and the collapse of productivity, and the collapse of the spiritual world in that prosperous new city that looks colorful and empty. . No one still remembers the name of the great-grandfather, only in the dreamlike moment, the beacon of smoke rises everywhere, the army marches, and the gods descend, but what does those glorious past have to do with us, who can't find the root or trace back to the source today? ?
Bob_Chow：
The first half of the meal after the initial encounter was too procrastinated, and the close-up of the front and back when killing sheep weakened or changed the gradually escalating fantasy mood into a contradiction. Some of the scenes and bridges are indeed creative and magical, and the eyes are bright, but the scheduling and audio-visual language are not only muddy and blurred, and they cringe, such as asking the lama about an understatement of the apple, and even repeatedly borrowing the drag in the final chaos war scene. Taking this shot, the too chaotic and turbulent moving mirror processing used at the beginning was also abrupt, and did not whet the appetite. Yes, the national and even civilized things of many cultural policies are interspersed in it (urbanization, vanishing peoples, only children, states), blooming all over the place so that each one is unclear and indeterminate. The characters also don't stand up fully and act oriented.
Pincent：
The roller coaster makes people feel dizzy. I am more used to the feeling of peace of mind when riding a big horse. Going backwards on a street full of bicycles is not as comfortable as riding on the grassland. The strange red people are here. Everything has changed, I can understand the policy, but I am a little reluctant in my heart. In the past, everything was simpler and more comfortable. I could watch the wide-angle full-color Prairie World, why should I watch the blurry picture so small as the TV box. I will always miss the old times, no matter the Mongols or the Soviets, we are all the same fallen people, people who live in the past, I am drunk, he is also drunk. The Mongolian spirit is the Soviet spirit, my memory and dreams are the galloping battlefield, my horse has run away, my weapon has disappeared, my two pieces of nostalgia have nowhere to put, only sting me, tattooed on my back . The poles turned into chimneys, and I lived like that for thirty years until the building collapsed and 10,000 runaway horses ran in my head.
#FIFF11#DAY4's main competition magazine rating will be released later, please wait and see.
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