sacrificial work

Royce 2022-03-04 08:02:11

The lust for the fire and the burning hatred have been exhausted. The choice of Camille in 1915 to make the film makes her whole life more miserable.
Everyone will have a complete emotional sacrifice in their life. Before that, it seems that they don’t know their bottom line and they are unreserved. They are all sensitive and release all their passions. as if it were its own limit. After that, the lucky people learned to suppress and restrain themselves, and learned the simple and long-lasting self-protection; the unfortunate people, at that moment, either mentally or physically, have died. At that moment, Camille turned herself into a sculpture and sacrificed it to Rodin to become a work.
Her expulsion at the monastery, occasionally expressing hatred through mandatory monitoring of her diet to prevent poisoning, and often regurgitating her former fiery through vulnerable requests for Paul's visit.
But all of this is like the piece of mud that she clenched and slammed and slammed to the ground. The living self has been sacrificed, and the current self is nothing, but it is only a matter of time.
Every picture of Du Meng is either the golden section or the balance and symmetry, which is almost morbidly demanding. The long shots and quiet sadness make the whole film look like the depressing beauty that has been labeled Camille. The film can be said to be Juliette Binoche's one-man show in a certain sense, a powerful enough inner drama that makes people feel that through her performance, other characters can already be enriched, and there is absolutely no need to explain any key characters. Yeah, give Camille a soft spotlight in the final moments! Let her, who has already died once, be able to leave the scene quietly, at least not to hide in the darkness of others forever.

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Extended Reading
  • Delmer 2022-04-22 07:01:54

    Daily diary of a mental hospital. Could a mental hospital be one of the closest places to God?

  • Leta 2022-04-22 07:01:54

    There is only one game in Copenhagen, and the number of audience is very objective. The time happened to be a certain connection of the 1988 film, but she is a person with a plot, and the existence of such a cross-sectional film is very doubtful. This story is difficult for a man to make well. This core is inherent since Jane Eyre, Destroy women, and the saintliness of men is preserved. Dumont has at most a sympathetic gesture in it, but the story should not be rigid.