Full frontal male nudity is seen on one occasion. The left breast of a woman is briefly seen. A woman is held down by a group of men while another rapes her (no nudity but the scene is unsettling).


Film review:Translated by www.rabudo-ru.com


There are few close-up shots of the characters in the wandering artist, and the psychological description has been reduced to the minimum. Therefore, the characters are blurred in both physical and psychological aspects.

The author seems to have no intention of establishing the viewer’s psychological identity with the character. Therefore, when the character in the play was shot, I was hardly touched – because I basically didn’t know him very well.

I think this is mainly a film made by Greeks to Greeks. Therefore, many self-evident things have been completely omitted. Therefore, as a premise, we need some pre understanding of this history – only written knowledge is not enough, and even some (unlikely to be obtained by outsiders) private experience.

In my opinion, these wandering artists have almost no personality. They have specific identity and different political positions, but they have no real “personality”. They mainly refer to meaning and what they represent.

This phenomenon seems to be common in Angela’s films. For example, the old revolutionary in the journey to the island of Seth seems to be more of a category than an individual, general rather than special. In his body, except for a certain mark of identity and history, it seems that there is not much to identify him as his own individuality, It is close to Lyric Poetry: lyric poetry deals with generality: such as the sea (any sea), girls (any girls), the elderly (any elderly), and so on.

What Anzhe’s films follow is not the logic of narration, but some kind of lyrical poetic logic; Although the author obviously wants to write a political epic, it seems to me more like a lyric series.

What matters is the image (Bild), the moving image, the motion of the image, and the sequence of moving images. Here, of course, the image is first of all visual (Anzhe is unparalleled in this regard), but also metaphorical, symbolic and referential. Behind the image is the concept: This is obvious, but strange: Anzhe’s image is lyrical and “rational” – even a little too rational to my taste.

For me, there is no doubt that Anzhe directly used scene scheduling to conceive his film; His films basically come from scene scheduling, not from stories, scripts and characters, and then translated into scene scheduling. This should be well known, so there is no need to dwell on it.

Therefore, in Anzhe’s films, the status of “people” and “things” are the same, both of which are elements of scene scheduling; Therefore, what matters is not the character’s psychology, character and thought, but the character’s position, posture and action: how they form a formation, from which position to which position in the picture, what matters is the configuration and timing. In short, choreography.

To be honest, if I were an actor, I would not be interested in playing an Zhe’s films, because in my opinion, the role in an Zhe’s films is not the subject, but the object and object; What sense of accomplishment can you have in such a play? I even feel humiliated.

As far as “wandering artist” is concerned, I even think actors can perform even with masks. There will be no great loss, and the effect may be better.

The wandering artist attempts to write an epic with private memory, but the paradox is that private memory may be truly connected with the viewer’s private experience only when it is also “common” – for this reason, private memory must reach the viewer with its context.

The reason why lyric poetry can do this is that it limits its scope to some core situations of human beings. Therefore, we can communicate with lyric poets in different time and space and different cultures almost without additional knowledge.

Of course, I don’t deny that additional knowledge can deepen our understanding of poetry, but poetry doesn’t seem to rely too much on additional knowledge.

Therefore, when Lyric Poetry attempts to expand the scope of experience to specific political and historical situations and experiences, it may encounter some difficulties: if the author does not find a way to overcome these difficulties, the work will fall into the hands of readers.

In my opinion, an Zhe’s problem is that he always wants to write epics, but the genre he is really interested in and good at is lyric poetry.

In the epic, the hero is the main body, while the poet is modest and hidden. In the lyric, there is always only one hero, that is, the poet himself – this is the situation in Anzhe’s films. Therefore, if there are so-called author films, Anzhe films are the extreme of author films, because the only hero in these films is the author himself.

Comparing the gaze of Ulysses with Homer’s Odyssey, we can clearly see the difference between Lyric Poetry and epic poetry.

Odysseus in Homer’s works is a man with unique and distinctive personality, a “hero” in dual meaning (original meaning and narratological meaning). Although Odysseus can be regarded as a character “created” by Homer as the author, he is by no means a vassal of the author’s consciousness; Even, we will feel that Odysseus is more vivid, great and noble than Homer, and Homer is obviously satisfied with playing the role of a humble Narrator: Odysseus does not belong to Homer, he belongs to the common memory and belongs to the real world.

In Ulysses’s gaze, Harvey Keitel’s role has no personality. He is only a symbolic symbol of Anzhe’s spiritual pursuit. He does not have independence as a subject and does not have a real physical body; I don’t “know” him or know him; He is only the ghost of the author; He is neither on the earth nor in the earthly world. He only exists in the consciousness of an Zhe.

Almost all of Anzhe’s films are launched in the way of roaming, with a moving vision to launch poetic and internal landscapes. This reminds me of what Benjamin called FL â neur: an idle, idle and introverted viewer.

Rilke in martt’s notes is the model of FL â neur. He is a lonely and sensitive observer; He is introverted and external, because he can never enter the interior of other people’s lives (Baudelaire, who is also an observer in Paris, is far less isolated). He would rather spy on the remains of other people’s lives on the walls of the ruins of the city, but would not have a real and secular connection with others. In essence, FL â neur has a Cartesian loneliness and is a “young man lacking collective importance” (Sartre) – here, the life world and interactive subjectivity are absent.

An Zhe is the direct biography of this modern lyric poet. Each of his films is like a list of hearts. There is always only the wandering of lonely hearts, without flesh and blood collision between different independent individuals, and no “intervention” in the real world. Therefore, although Anzhe’s films always tell such a grand realistic subject as national history, I always feel that he can’t really “enter” reality and history, and can’t really enter the crowd. He is a bystander and thinker. He is imprisoned in the Cartesian mind and blocked from the real history created by the surging flesh.

To be more frank, I think Anzhe is too obsessed with his own heart. He can hardly enter the hearts of others, which is the reason why he can’t shape his “character”.

As an opposite example, I would like to cite the Macedonian film “rainstorm is coming”, which also writes the political history / reality of the Balkans with the feelings of individuals rather than the public. This film uses fireworks instead of Anzhe’s claustrophobic temperament. It does not lack privacy and poetry, but has a stronger sense of reality and worldliness (although it has a rather mysterious metaphysical structure), Under its style, I heard the surging noise of flesh and blood.

Of course, I keep saying that “rainstorm is coming” is higher than Anzhe’s work (I have to admit that “rainstorm” makes me more excited); I’m just saying that it obviously has something that Anzhe’s works lack, which is quite important. Of course, on the contrary, it naturally lacks some things why Anzhe is Anzhe: these things may be equally important, or slightly less important?

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