Homesex movieTopio stin omihli (1988) Movie Sex & Nudity

Topio stin omihli (1988) Movie Sex & Nudity

A rape is implied.
No scene of nude at all.


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


(I)

Greek director Angelopoulos has completed about 13 films so far, of which the “silence / journey Trilogy” – a journey to Seth, the beekeeper and scenery in the fog are the most famous. These three films are asking a common question: where is the last habitat? The first two parts of the trilogy are about how the elderly move towards the end of life in pursuit, and scenery in the fog is the story of two children growing up on the journey – perhaps that’s why I prefer the latter, which leaves more hope.

Scenery in the fog, shot in 1988, won the Silver Lion Award at the Venice Film Festival. The plot of the film is very simple. In a city in Greece, twelve year old sister Wula and five-year-old brother Alexander quietly boarded the train bound for Germany to find their father they had never met. Their trip went through ups and downs. They were driven off by the conductor because they didn’t buy a ticket. They were told by their uncle (or uncle) that they were actually illegitimate children and were treated coldly by adults. Woola was humiliated by a truck driver… They also met a touring troupe performing Greek tragedy. Woola had hazy feelings for the troupe’s actor olestes. After a long journey, the sister and brother finally reached their dream place. However, is the scenery slowly emerging in the fog their home in their hearts?

The whole film is unified in a clear blue, calm in melancholy. This is exactly the bearing of the two young protagonists in the film. This is also the color of their motherland. More than ten years ago, there was a popular TV film in China, which created the saying of “blue ocean civilization”. This marine civilization just originated in Greece. Since then, Greece in my imagination is a deep blue.

A large number of long lenses and fixed seats tell us the travel of the two little heroes calmly. The movement of the lens often takes the rhythm of poetry, just like a long scroll of Chinese landscape with “scattered perspective” for the audience. The ceremonial scenes and some lines of poetry recitation make the viewer feel like watching a deep and dignified classical Greek drama. The continuous emergence of open roads, unmanned stations and fast trains make us feel the sadness and solitude on the way with our wandering sisters and brothers. The dilapidated factory building, such as the monster like huge excavator in Hollywood movies, seems to imply the erosion of modern industrial civilization on human homeland.

(II)

This is a story about finding a father. The “father” in the film may or may not exist. It is said that “he” is in Germany. Germany here, like the scenery in the fog, is out of reach. As the uncle who met the sister and brother on the way said, “Germany… Is really a great lie… Do you want to give people a dream?” It can be seen that the so-called “Germany” is just a metaphor and an ideal paradise in children’s hearts. In fact, at the beginning of the film, the director conveyed this message. The sister and brother were planning a trip. The sister recited the Bible genesis for her brother in the dark: “at first there was some chaos, then there was light, and then light and darkness separated…” at this time, the mother gently pushed the door outside, and the light cut through the darkness from the crack of the door, taking us gradually into the world of the two children. Then they set off. This clearly tells us that the journey of Woola and Alexander is a story related to the origin of mankind.

We know that in the western context, there is a father who is always capitalized – God. After he created light, darkness and all things in heaven and earth, “fog rises from the ground and moistens the earth,” he used the dust on the ground to create a “living man with spirit” – human beings were born in the scenery with fog. Then they were expelled from the garden of Eden and scattered all over the world. But for thousands of years, human beings have returned to their father’s paradise and never stopped seeking the ideal of eternal life. Therefore, looking for the “father” and the scenery in the fog is the effort of human beings to return to the birthplace. To find a father is to return home.

This reminds us of the journey home in Odyssey: the hero Odysseus drifted on the sea for ten years, overcame all kinds of difficulties with firm faith, and finally moved the God to return to his hometown. Returning home or wandering may be the common motif of eastern and Western cultures. In our well-known story, the reincarnated Tang monk of the golden Zen son returned to the scenic spot of the West sky in his previous life after disaster; And “the thought of wandering” is the subject of repeated chanting by many literati. Those who return home need great perseverance to overcome many difficulties and resist all kinds of temptations. This is a process in which free will overcomes necessity. In these layers of suffering, the light of human nature burst out. Therefore, the process of returning home is the process of achieving the sublimity of human nature and the process of people moving closer to divinity.

The process of returning home is also the process of human growth. The two children in the film are drifting towards maturity. Woola bid farewell to her mother and took her brother away from home and directly assumed the responsibilities of an adult. She suffered humiliation, walked through the ignorant first love, firmly said goodbye to her lover and embarked on her long road. At the last station they passed, young Woola began to know how to exchange beauty for travel expenses from men – she quickly learned the rules of the adult world. Alexander, at the age of five, had a rare air of calm at his age. He was indifferent to all the hardships he experienced during his journey. When the restaurant owner forced him to clean the table in exchange for bread, he didn’t forget to sit down first, listen carefully to the performance of a wandering violinist, and then give sincere applause. It was only in the snowy night when he faced the dying horse lying on the ground that Alexander couldn’t help crying. Watching the disappearance of a life makes children realize the impermanence of existence prematurely.

(III)

If returning home is the triumph of man’s free will over the inevitability of fate, Woola’s love is the crushing of free will in front of fate – she falls in love with someone she can’t love. Olestes, the only person who has given her warmth in the long journey, the only person who is willing to half kneel in front of her and look up to her with respectful eyes, this handsome young man like an ancient Greek statue, is a homosexual. On the morning of their separation, they watched the stone carving of a huge hand salvaged by a helicopter on the beach. The huge hand rising slowly pointed ferociously to the ground from the sky. Is that the God of fate warning the two young people? No wonder Orestes desperately shouted to the sky, “I shout loudly. Can any Angel hear me?” This is not the cry of Oedipus’s pain: “destiny, where have you jumped?”

When the time of parting comes, it is still the empty road at midnight, no words, no tears, only a tight hug and two figures standing for a long time. The camera slowly rotates around the two people, as if gently soothing the two suffering hearts. When Wu La slowly picked up her backpack from the ground, her back tilted slightly forward, and her thin body was full of divine brilliance. I think that at this moment, the gods who promised Odysseus to return home also granted the return of the Woola brothers and sisters. When Orestes waved to his sister and brother who were walking away quickly, the camera slowly raised and looked at him faintly from the air. Is this the fickle God of fate showing some compassion?

China’s ancestors regarded parting as “dejected” (Jiang Yan’s “biefu”), saying the bitterness in the hearts of the parties; The Greek tragic difference, however, in the struggle and destruction, sympathizes with the common destiny of all mankind – all sentient beings. Who can defeat the giant hand of destiny?

(IV)

The end of the trip has finally come. Woola and Alexander crossed the “border” and came to “Germany”. Dozens of seconds of all black screen, then a small boat flashed in a corner of the screen, and then all black for about seven or eight seconds. This is reminiscent of Jia Baoyu’s maze crossing when he sleeps in Taixu dreamland in a dream of Red Mansions. “It’s deep and thousands of miles away… There’s only one raft… But it’s crossed by those who meet fate.” Then there was a thick fog. My sister was calling my brother up. “At first, there was some chaos, and then there was light…” as Alexander recited the chapter in genesis, the thick fog slowly faded, and a big tree clearly emerged on the horizon. The brothers and sisters rushed over and hugged the tree tightly. Perhaps this is the tree of life in the garden of Eden that can make people live with God? They finally returned to their eternal home.

It is said that the script was not like this at first. Angelopoulos wanted the two children to disappear in the thick fog. When his seven year old daughter saw the script, she cried, “where’s father? Where’s home?”. So he let his sister and brother through the “maze” and hugged the tree of life. Angelopoulos said to his daughter, “if you like, you can recreate the world. Just like this, with a gentle wave of your hand, the fog will disappear.”. (Huang Xiaoxie, sweaty hands holding wild flowers)

A seven year old girl has not tasted the heaviness of life. In reality, the outcome will most likely be what the director of Anda originally envisaged – lofty ideals are often fruitless. “If you follow it, the road will be blocked and long; if you follow it, you will be in the middle of the water” (the book of songs, Jianjia). Or maybe, when a goal is reached, he / she sets off for the next goal. In the story of Odysseus, the most meaningful thing is that although he returned to his hometown, reunited with his wife and children and became king again, he still went to sea again and disappeared after his old age. The end of a drift is only the beginning of the next drift.

Perhaps, the pursuit of ideals is like the suffering of Sisyphus, who pushed the boulder to the top of the mountain and rolled down again and again. Sisyphus was painful because he was carrying out hopeless work; But he is happy, because he is experiencing and feeling infinite beauty. He is always on the journey, the scenery under his eyes will never dry up, and his history will never end. Therefore, Camus called Sisyphus “absurd hero”, “when he left the mountain top and gradually went deep into God’s hidden residence, he was higher than his destiny. He was stronger than his boulder.” (quoted from Yao Junxi, Western sublime aesthetics, Doctoral Dissertation of Fudan University).

(V)

In an article in memory of the Polish film master Kieslowski, Liu Xiaofeng said, “There are three kinds of narrators: those who can only feel the noise floating in the representation level of life and use language popularly are vulgar narrative Writers…; those who can feel life at the metaphorical level of life and weave their feelings into stories by using individualized language are narrative artists; they not only feel life at the metaphorical level of life, but also use their thoughts and ideas The person who expresses the thought of feeling in allegorical language is a narrative thinker. ” (a glimpse of the fragments of love, in reading, 1996).

I think Angelopoulos is a narrative thinker beyond ordinary artists. Like an ancient Greek poet or philosopher, he used his own lens language to record the joys and sorrows of the world and think about the eternal situation of mankind on the earth. He “has the feeling of hard thinking about the life of the times, like a line of compassionate sunshine, penetrating the humid fog.” (Liu Xiaofeng, a glimpse of the fragments of love.). In this troubled world, Angelopoulos and his works can let us sit in front of the gods with piety and solemnity, and have an insight into the far from perfect life with a kind of detachment of flirting and smiling. It is in this sense that the story of “always on the way” in “scenery in the fog” is worthy of our careful taste.

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