Anxiety / Fear - Hate / Hypocrisy

Damion 2022-03-23 09:03:29

It's been a long time since a film made me feel so gripping, and I'm eager to jot down some of my feelings. Fassbender is a name that I have always kept in my mind, and this is the last time I saw the masterpiece of this new German film star.

This frame is full of tenderness that is rare among people, but also depends on survival. The two look at each other with enthusiasm, desire, but also with a respectful prudence. This harmony exists not only between people, but also into people and environments: Ali's brown skin blends silently into the walls, like Amy's plaid shirt is an extension of the curtains. This balance of people, others, and the environment is what Heidegger called "dwelling"

"Fear swallows the soul", in fact, it is more accurate to translate it as "anxiety" (Angst in German is literally translated as anxiety in English), but the ambiguity of fear and anxiety is naturally reminiscent of Heidegger's use of fear and anxiety as distortion and the division of authentic existence. This division is theoretical and is naturally ambiguous in reality. We fear the scrutiny of others because it poorly replicates our own scrutiny of ourselves. I try to convince myself that others are jealous of my happiness, but I cannot avoid my own torture: Am I really happy? What is happiness? The best part of the film, and what makes my cognition even better, is the contrast between hatred and hypocrisy: we can endure naked hatred, because of the heroism of the bearer, and suffering as a hero is also human dignity However, we were overwhelmed by hypocrisy. In front of the mask of kindness, I could not struggle, and could only be used willingly, lose my personality, and become a tool.

The dichotomous picture presents the opposite and mirror relationship of others to the self. The prison effect created by the barbed wire window in the middle means not only the separation of her and me, but also mutual surveillance and imprisonment

Also, I don't know to what extent the film reflects/criticizes the historical realities and social conditions of the time: German nationalism in the 1970s, hostility to outsiders, and tacit nostalgia for Hitler's legacy; it really struck me . Or perhaps, we are never far from the horrific past.

The transition between reality and symbolism has always been a part of film aesthetics that fascinates me. The black mound in the foreground is not only a scene of post-war Germany waiting to be rebuilt, busy rebuilding the realistic landscape of society, but also gloomily implying (the word 'foreshadow' in English is very appropriate) the marriage of the two in the play, as well as the full social atmosphere. A gloomy future for a conflicted Germany

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Extended Reading
  • Jennifer 2022-03-27 09:01:21

    The high saturation color with the lonely light and shadow is like Edward Hopper's Nighthawks. I don't know if Amy, as a mainstream member, broke into the world of Ali, a marginalized person, and became a dissident, or if Ali, as a foreigner, integrated into Amy's mainstream ethnic group and became a pig, the point of view of the interaction between groups and groups through their own colored glasses. Always so closed and suffocating, fear devours you and me, and fear engulfs the soul.

  • Jeromy 2022-03-16 09:01:09

    8.5, the opening couldn't be better, it's so simple and so cool, only Fassbender can make a movie, the ideology of racial discussion in the narrative is not too formed and continues to the end and becomes a third-rate category Hollywood racism condemns discussion films, and finally, Fassbender's mechanical sense is too charming

Ali: Fear Eats the Soul quotes

  • Emmi Kurowski: But when we're together, we must be nice to each other. Otheriwse, life's not worth living.

  • Emmi Kurowski: Maybe...

    Ali: Yes?

    Emmi Kurowski: Why don't you come up for a while? I'll make us a coffee, and maybe the rain will stop.

    Ali: I'd like to, but...

    Emmi Kurowski: People always say "but". And nothing ever changes.