2021.11.25 South Campus Library
Listed as my current best movie.
1) People's resistance, compromise, and acceptance of sand. Sand falls from the sky, causing houses to collapse and burying people. However, the life form of the village in the sand is completely wrapped in sand. The image of sand overlaps, which is both a metaphor of fate and a social miniature. 2) The forbearance and obedience of the Sand Lady and the arrogance and contempt of the entomologist, the sandy land is the place to bury the family and the only possible form of "home". The entomologist tried to escape from repeated attempts to persuade the Sand Lady. The process of moving out of the desert--the escape again attempts to negate the pre-modern definition of "home". The atomized individual (wifeless/nuclear family) represented by the entomologist believes that a network of friends/colleagues/unions… will find him and bring him back to modernity baptized urban life, but is ruled by a family court A "missing person" ruling also means a loss of urban identity. 3) A large number of close-up shots, focusing on the human body covered with fine sand, lust flowing in the desert, a fight turned into a sexual affair between an outsider and the sand girl (the relationship between sex and violence) The sand girl's expression was painful/struggling but Still accepting the power of outsiders over their bodies, the spooky, metallic soundtrack is just right. The entomologist's sense of shame was overcome by the desire for freedom, and the scuffle under the projection lamp became the climax of the whole film, like the "passing ceremony" arranged for him by the villagers - affirming the most primitive desire and becoming "inhuman" in the eyes of others. Only by the existence of "the existence of "is the qualification to obtain temporary freedom; the villagers who are onlookers are covered under masks, and the drums and the fighting are synchronized, which is both a ceremony and a performance." The entomologist initially entered the village as an intruder, just like a "naive anthropologist" who "likes to live in local people's homes" to observe the terroir of the village, but eventually became an "observed" amid the thunderous drums , the "viewer" and the "viewed" are formally inversion at this moment. 4) The core of the movie is close to the oriental version of "The Myth of Sisyphus", "Are you digging sand for life, or living for sand digging?" Entomologists cannot understand the day-to-day sand digging. In women's eyes is life itself. If you choose to praise naturalism from it, the sand woman itself carries a meaning. This meaning comes from unthinkingly confirming a certain authentic life - but there are also moments when closed loops are opened: in the words The frequent appearances of Tokyo; the yearning for the radio revealed by the sand girl, and the limited pre-modern life that still cannot resist the intervention of the industrial system (sand is sold to builders) will eventually lead to philosophical questions: what kind of life Is it desirable/producing meaning? 5) The ending is not unexpected, as entomologists thought it was absurd when the sand girl said "sand is wet" when they first arrived, but after discovering the principle of the water pump, they accepted the same in different discourse systems.
Supplement: After watching the movie, I walked on campus with Yuexin to discuss the movie. Yuexin said that "sand" is a metaphor for time at the same time. "Sand waits for no one" and sand's complete coercion of houses and people are similar to our relationship at the same time. By extension, the fact that entomologists have finally failed in their struggle against sand in various ways, and even fell into wet sand even after the only dawn of escape, does it mean that the concept of "time" has an absolute effect on those who live in it? Difficult to escape? And the sand at this time is also like a spatialized time.
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