frankly said that he was very surprised by Nanny Moretti's "The Son's Room" at the Palme d'Or in Cannes. Such a simple and thorough film has won the award, not to say that it didn't work with him back then. Competing shortlisted films (such as Lynch's Mulholland Drive, Haneke's "The Piano Teacher"), but gradually, I recently remembered it again, and watched it again before I came out. The power of "silence". In fact, some things and some people, how can they understand the taste without the tempering of time. Movies are like that, and so is life.
There is a kind of power in silence, and sometimes it has a more powerful lethality than violence. This kind of lethality was buried to the end in the film "Son's Room", and at the moment of ignition, the emotions suppressed by the film in the hearts of the audience were finally released. However, at the end of the film where you stopped abruptly, this release briefly drew an ellipsis, which engulfed people's hearts. The style of the film is just like the taste of Cannes, "cold and quiet". Minimal art is used as the keynote of the whole film. They have used it from the earliest Dreyer to Bresson to Haneke, but in order to highlight Dramatic, they break the silence in a very intelligent way, so that the director's personal thinking can be conveyed, and "The Son's Room" continues the silence, and the rhythm is even slower.
The story of the film is actually very simple. Ivani has a harmonious and warm family. Son Andre and daughter Irene make the family happy. As a psychiatrist, Ivani often comes into contact with all kinds of mentally ill patients, so he cherishes his current life more. However, the cruelty of life followed. On a seemingly ordinary morning, there was a news that broke the family. The son died in an accident during diving. I think I will know the result after that. The Ivani family finally got out of the predicament and welcomed a new life. In fact, there are many stories about "losing my beloved son". South Korea has Lee Changdong's "Miryang", and the United States has Mitchell's "Rabbit Hole", but the difference between the two is the power of "silence" in "The Son's Room". From the perspective of a middle-aged father to feel the "growth" of a family, he is more close to the heart and in line with the rhythm of real life. When time passes, we forget that we once loved a person without hesitation, forget his tenderness, forget everything he did, the memory gradually blurs, and gradually evolves into a kind of "remember", what a vicissitudes of mind this is . The death of the son, the father's strength as the core of the family, the grief he expressed is a kind of "silence", he ran to the amusement park that his son liked before, replied to the letters of his son's girlfriend, felt his son's life, and felt his son's life. Breath, he tried to complain, if I didn't go to the doctor, if I spent more time with him, maybe the tragedy wouldn't happen, but we are not prophets, we are not God, as the film says "It is God's life. contract"
In fact, "The Son's Room" is nothing special in terms of technology, simple and even trivial. As a psychiatrist, my father often listens to the pain and suffering of patients, and every time he interprets and analyzes the patient's psychological problems in an objective manner. The gap between reality, the father went to his son's favorite amusement park before his death, and held a fixed camera to present a close-up of the character. The sadness and grief conveyed in his eyes resonated with the audience. Godard once said, "The relationship between the film and the audience is not the screen, but the distance between the screen and the audience." I think the feeling conveyed by the film is not for the audience to listen directly, but for the audience to do a kind of self-analysis. Digging out the inner grief, I think this is the thickness of the film. In the film, there is a scene where the father turns off the lights in the room, and the camera follows the back of the hero all the time, giving the audience enough time to take care of the middle-aged man's inner world. The back of the character has an alienating effect from the audience. , let the audience stand outside the character and objectively appreciate the pain of the character. The picture conveys the helplessness of the living being when faced with despair and pain. This kind of silence is internal, like wine in the dust, you can't smell it unless you dig it out. to the slightest aroma.
We are not gods and cannot control human misery. When the father learned that his son had a girlfriend before his death, the state he showed was nothing more than trying to capture the shadow of his son, and even drove the girl and her boyfriend all night long. Life has to go on. The father and the two looked at their sleeping daughter and their son's girlfriend before they died, and seemed to understand a kind of continuation of life. At the end of the film, the three people wandered on the seaside, and the director still ended with a plain and indifferent loose composition. The father, wife and daughter were walking by the seaside, the wife and daughter were facing the sea, the father was pacing on the beach with his head bowed, and the tide was running. Lightly, the sun is gently pouring on them, listening to their thoughts and drying their sorrows. Maybe they just forget temporarily, time will evolve into a kind of "remembering", a little bit one day, this kind of grief will come again, a shallow smile will not erase the pain of life, it is temporarily a kind of "slow paralysis" ".
What is the room, maybe like the blue sea, when the tsunami comes, the room is just a temporary haven, which will eventually be swallowed up. The grief will not be forgotten, and he will lurk at the bottom, waiting for the second tsunami to come.
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