Son of Sol: Another way of exposing the scars of history

When it was announced that the winner of the 88th Oscar's Best Foreign Language Film was the movie "Son of Sol", I took a look at the overwhelming comments on the Internet. It was either well-deserved or unsurprising. It seemed that the audience as outsiders was a blockbuster than a fledgling audience. Laszlo Nemes has to be confident. The problem is that 99.9% of the audience in China must have never seen this movie before the awards. They are all eagerly looking forward to giving birth. Why can they be so sure? First of all, this is the first official feature film by the Hungarian director Gerais (a lot of amazing debuts emerged last year, and there is a blowout trend). Since last year, it has passed through the film festival and awards season all the way. The 68th Cannes Film Festival Jury Awards and the 73rd Golden Globe Awards for the best foreign language film are properly collected. Under the "round bombardment" of praise and doubts, they have won a lot of popularity and at the same time with a relaxed attitude. Unsurprisingly, he entered the Oscar (of course, the overall strength of the opponent is not too strong).

The well-educated Jeles also learned from the film "The Man from London" by the great god Béla Tarr. He has been taught a lot and has mastered what is the true value of the film, the starting point Higher, will have certain expectations of him. The point is that with the increase in popularity, the audience will have a general understanding of this film, the background of World War II, the environment of the concentration camp, the victimized Jews, and everyone who was mobilized to be interested will be curious about what way or method Jelles would use. Dealing with a sensitive subject that is easy to get in trouble and preconceived, this is obviously a hot potato that many senior veterans dare not try easily, not to mention a newcomer in the film industry, plus there are many classic success precedents before. And Jeles did not copy the predecessor’s ideologically oriented, correct and supposedly shooting mode, but through a unique form, with an absolute single subject setting and an internal mental examination of the concept entered the year. That dark and tragic history.

Gerais is totally uncomfortable with the "splendid lens" that has become so popular in recent years. Instead, he follows Sol’s footsteps in a unique way of taking photos with him at close range (difficult to induce favorable impressions). The figure wanders in and out of the concentration camp, feeling the dark and hopeless situation of purgatory, witnessing the injustice between him and a large number of Jews, and looking directly at the terrible death process that year. Sol is the first and only perspective in the film. The film basically revolves around the switching of his front and back perspectives (aside from the last point), without deliberately magnifying the cruel and spectacular tragic colors, but the naked scenes (bloodstains, corpses, etc.) and the depressing and tense atmosphere under the "fiction" are enough to make people Anxious and unbearable, coupled with the close accompaniment with a compulsive sense of traction, influenced by the surrounding environment, Jelles deliberately visualizes the lens as a blur and blur, with a kind of tragic factors that are about to die. A sense of stability and crisis, looking very tormented, this film is only 107 minutes, but it seems to be very long. I choose to pause several times in the middle and drink saliva to continue. Jelles effectively binds the audience and Sol together, and has a leading role. Sexually took us, as if experiencing a passive and unusually uncomfortable viewing experience.

This film completely abandons the rendering and accent of the soundtrack, and replaces it with real and direct sound effects, the miserable and tragic shouts of the suffering Jews, and the chaotic and decisive sound created by the rain of bullets. Jeles made use of many voice-overs to enrich it. In a restricted situation, the film soon staged a scene of sending a large number of Jews into the gas chamber. There were tragic and painful shouts and instinctive beatings from inside the door. Standing outside the door was a numb cable. Well, at that moment, it was enough to describe it as “starting first to be strong”, which strongly shocked the audience. The effect of the picture is indeed a texture that can only be reflected when using film, and a continuous expansion is wrapped in the regular frame ratio. The uncomfortable, dignified and deep tone of the film fits the theme of the film, making the whole film always indulged in a deep desperate intention. It may also be influenced by Tal, who is not cold at all or even a little resistant to digital. In order to inevitably interfere with the image itself due to the advanced technology of the film (funds are also limited), the audience's attention is focused on the plot itself and the historical background.

What may make the audience a little unexpected is that the role of Sol is not a professional actor from Cobain, but the famous Hungarian poet Géza Röhrig. The scenes and the scenes are connected with each other. It feels very interesting for a while. There are a lot of close-up shots of Sol in the film, impressive, firm eyes, sculpted facial lines, stiff and dull expression, hoarse voice, his natural image does not ask for it. What superb acting performance has completely reached the level of "fake the real", there are also many master directors in film history that have already proven the benefits of amateur actors with the works of Niu Breaking, a shape that is more conducive to the overall appeal of the image. And the sense of existence, Rorig’s original intention to participate in the performance was mainly to have a great interest in Sol’s arbitrarily behavior and personality, and this is also a place that makes many viewers puzzled, just like Sol’s companion in the film. Said: "You actually abandon the living for a dead person". Just looking at the vaguely introduced plot brief, it is hard to imagine Jelles's bold intentions. Many people may think that this may be again. The part is similar to "A Beautiful Life", which sets the background in a special period to tell a touching story of father and son relationship. No, it's just the opposite.

It was found in the gas chamber whether the boy who was finally killed in one breath was Sol’s son. The answer can be found from the clues (the dialogue between Sol and his companions) given in the later film. The main storyline of the film is around Sol. With an incomprehensible obsession, the process of burying his "son" with his whole heart and one mind is almost extreme. Everyone has their own views and understanding of Sol’s actions, and I see from Sol that he is purely an authority. From the point of view, the experience is more of a kind of self-paralysis after losing all hope. It is in a desperate situation where it is impossible to achieve complete loss of vitality, in a space filled with the smell of blood and death, borrowing From a reasonable emotional reason (the main link that maintains the development of human society, even if it may be the relationship that Sol’s wishful thinking), it catches a trace of "sacred mission and goal that can be completed within the power", and captures about living We have never experienced the meager perception, and we projected the past with realistic eyes. Perhaps Saul’s approach is absurd and stupid, but for him, it is the only authority he can violate in a few days. The ability to act out of self-will.

As a member of the prisoner detachment of the Nazi concentration camp, the only authority granted to Sol is to live longer. Its function is like a wait-and-death operation embedded in this mechanical base camp for the massacre of Jews. Parts, what the concentration camp prisoner detachment has to do is to send the compatriots into the gas chamber in an endless loop, process their remnants, clean up their naked bodies, blood stains and burned ashes, and then they will follow the same pattern one after another. In fact, this piece of death can be divided into two ways. On the one hand, Sol, who wants to go through the decent process to bury his "son", stole the body from the autopsy room, almost frantically looking for the rabbi everywhere, even if he died. In the mass graves, an impostor rabbi was drawn back to pray for the "son". Even if the disaster is approaching, he must paranoid the burial to the end. On the other hand, the prisoner detachment plans to risk death with the last glimmer of hope. Out of the siege, he needed Sol's help, but he was messed up by him who wanted to bury his "son". The question is, why does Saul want such an unreasonable dead brain sutra?

According to our established values ​​and moral judgment standards, we will feel that the purpose of the detachment's actions is reasonable, but in this environment where humanity is gradually disappearing and dealing with death all day long, how can we face completely unreasonable cruel treatment? Is it possible to produce reasonable and optimistic results? As I wrote before, Thor’s driving force may make him feel the only breath and existence, and he can also feel his own potential role in this melting pot soaked with death breath, and he can find him from the Nazis. Breaking free from the murderous mechanical operation to have a short-term breathing opportunity, then why Sol doesn’t work hard for his companions, but drags them back, and Sol, who is basically indifferent, seems to be from a kind of darkness. The distorted paralyzed state was overwhelmed by another drive to be paralyzed by the self, and he did his best to complete the plan that he thought could also reflect the inner value of the silk. I remember that when Sol was sent to take the package by his companion in the film, he avoided it. The girl's active hands, he seems to be deliberately isolating and avoiding people (living), triggering more unnecessary movements and establishing too much emotional involvement.

He also knew in his heart that the goal of his companions to live and gain freedom was nothing more than a bubble-like hope for self-deception. The consequence of hitting a rock with a pebble would only be to meet the god of death in advance. Despair is unrealistic. It seems inspiring but essentially meaningless, because there is only one way before their eyes from the beginning to the end—death. In the end, Sol, who failed to "burial", is helped by his companions. Walking into the forest where they walked out of the blurry lens at the beginning, and seeing the child Sol, a rare smile appeared on the desperate face, with a profound meaning, as if they had harvested a moment of consolation in the boundless darkness. With the gunshots, the ending is clear to our hearts. The forest echoing back and forth is like a paradoxical and desperate reincarnation. Finally, the voice-over strikes, and the Nazis ruthlessly snatched their lives and announced the end of their lives. The sorrowful breath permeated, and the heavy aftertaste left after the shock lingered in my heart for a long time.

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