The 12th #法罗岛电影节# will bring you "Mask" on the second screening day of the main competition unit. Below, I will bring you all the comments from the front-line duo who don’t know the truth!
earth:
Experimental movie.
Queen of the Faroe Island Empire:
The performance of Bibby and Uman can be ranked among the strongest screen combinations in movie history (one of them).
We Min Hee:
I have to admire the role of human faces in the film: each face is given a mysterious charm under the lens of Bergman.
Bounce:
My questioning, pulling away, experimenting, refactoring. I really like the composition where the last two faces overlap by half, and the Bishe poster might take this shot.
Fruit trees:
Be sure to sink your heart slowly, slowly, slowly, slowly, slowly, slowly, slowly, slowly and slowly. From the form, the small pattern to the plot line, they blend in with each other.
Bat Bats:
In this film, the language of the lens and the use of light and shadow are enough to make Ingmar Bergman one of the ceiling figures in the director's circle. I can only see these superficially.
The song is wrong:
An escape experiment, talk and aphasia in the isolated island mode, two gradually overlapping faces, under the light and shade of light and shadow, the separation and possession of the id and human nature, the content of the child's outstretched hand gradually becomes concrete.
supremacyacron:
On the surface, he was playing the piano to a cow, but in fact he was mumbling to himself. It is said that "Mulholland Road" is very similar to the film, but Bergman's narrative rhythm and style are relatively simple compared to Lynch, not so obscure; emotionally The contrast goes to the unity of action, desperately eager to be cured but lost self.
Bob_Chow:
This film may be Bergman's incomprehensible film second only to the seventh seal, or it may be that Bergman himself did not distinguish between spirit and substance in the second half of the film. The child's swaying hand touches not only the mother, but also the female. Biochemically becomes self, the opposition of integrity and the world. The change and rule of masks, the withdrawal and reconstruction of human nature.
Full of Zhao+:
The person I can't be honest is myself. I can't admit my cowardice, indulgence, and irresponsibility... Facing the unacceptable self, I not only closed my mouth to the world, but also couldn't speak to myself. When I started to be honest with myself, I realized that those were just my desire to perform for myself. After mentioning the beauty of the carnival, the loss and regret after the carnival followed.
Ye Fan:
This wonderful composition came at hand and influenced a large number of directors later. Someone said before that no one has seen a few of the works of these masters, but he forgot that the works of the later directors he saw were actually full of traces left by the influence of the masters. You should reflect on the fact that you haven't seen a few masters' works, and you shouldn't say that no one cares about the works of masters.
Pincent:
Very shocking viewing experience, powerful light and shadow audition stimulation, double-sided light and dark, reality and dreams, silence and speech, performance and real self, healing and being observed, the id and the other self, separated and intertwined. Playing with abstract concrete, clear and vague, the film is making wanton transformations and at the same time spawning a kind of community. Subverting the narrative form, the story is told clearly under the high-profile editing, and there are a lot of detailed interspersed content that can be interpreted.
sparrow:
The theater has a strong sense of form. The sharp confrontation between the two shows anger, fear, and terror through many aspects such as the intensification of facial expressions, the entanglement of psychological activities, and the large-scale changes in light and shadow. In the extremely abstract video theater, the two subjects, the superego and the ego, completed a dialogue with the self through silent listening and verbal narration. These small tremors aroused the subtle, deep, and bitter resonance of each audience. The characters are also stripped, restored and restored in a depressed atmosphere.
George:
Very amazing, especially the first few dozen minutes. However, Ingmar Bergman's consistent rejection and evasion of the outside world and discussion of family responsibilities and care are the themes that I am more insensitive and sympathetic to. If the defect that the viewer feels preconceivedly is a personal choice based on his own experience, it can be said that the work has failed at a certain level if it is still insensible after reading it. Roger Ebert gave an appropriate evaluation. We "went to appreciate the beauty of its image while trying to understand its mystery (desperately)."
Cornice:
Returning from dreams to reality, discovering that reality does not make people return to the essence, but dreams can. To use another self as a metaphor, religious confession, anger, or lust, these inevitable issues that entangle people themselves, all return to self-examination. Excluding these added content in human evolution, what people really need is a kind of self-compassion in the dead of night. The journey of life can be very light, light enough to be exchanged at will, and I don't feel any strangeness, but the weight of the journey of life can hardly remember those fragments, landscapes, symbols, and characters. It is difficult to generalize a movie that is highly experimental, only shocking.
#FIFF12#DAY2's main competition score will be released for everyone later, please wait and see.
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