Hanake's puppet show

Hanake's footage is "inhuman". In the cold tones, the human soul has lost its vitality. The subjectivity of the characters is deliberately "cropped", just like Kafka's K, who is not anyone but everyone. So they became a symbol, a symbol of the middle class, and then morphed into a cyclical sequence of actions, getting up, brushing teeth, breakfast, driving, working. . . Orderly and boundless. In this mechanical variation, the cradle of death is lightly woven. In the end they decided to put an end to this long, dreary variation and set out for the dream Osteria. Before leaving, they played a lament and used axes, iron saws, scissors, and hammers as a farewell ceremony. The lament was full of sharp, tingling sensations. In this long sound experiment, your heart seems to be beating among the shards of glass, and the dazzling edges are intertwined into fierce rattan, strangling the last remaining breath into nothingness.

Is this the final cry? Is this the last resistance? I suspect. Just as the cracking, tearing, and stinging sound of shattering cannot replace the throbbing of the throat and the tumbling of the heart, neither can the frenzied destruction awaken a heart that has long been dead. All in vain. They are just Hanake's puppets in this disillusioned orgy, a clumsy vehicle for the director to vent himself. Therefore, no matter how brutal the performance is, it cannot hide its inherent falsity, let alone prevent the infiltration and spread of boredom. They sacrificed in exchange for the victory over boredom and nothingness, not knowing that they had already become the parasitic shell of boredom, and this sacrifice was nothing but the flower of evil that boredom bloomed.

This is a drama that has been removed from the drama, just like the puppet game they have been playing in the technological era and the bureaucratic society, which is skillful and boring. And this is where the real tragedy of the film lies—just as the dramatic performance becomes an ordinary note of a flat narrative, and the rebellion becomes the captive of the object it rebels against.

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