X attached to the eye (almost another standalone story)
At the end of the film, there was an audience question and answer session, and at the end, a female audience member asked a question that I thought was very stupid: saying that you have such a serious and heavy and profound theme in this play, why add so many comedic elements, and watch the old woman I jump straight to the scene. The director and the male protagonist look at me and I look at you, carefully laughed: Well, a little bit of comic relief, not a deliberate pursuit of comedic effects - when we were in Israel and the Venice Film Festival, when the camels stepped over, there would be some sneering and laughing in the audience, but not like you. As soon as the words fell out, the audience laughed again.
When Mauz replied to this, I suspected that his English was not smooth enough, and perhaps he did not speak up to his expectations. These cold humors in the film are not cartoonish comedic elements in my opinion, but absurdity, ridiculousness. These absurdities and antics just highlight the creators' views on war and nationalism, and have nothing to do with comedy.
Like most boys of that era, I used to dance guns and sticks when I was a kid, and when I was older, I watched a lot of movies about war. We learned nationalism and national complexes in Chinese war films; we witnessed grandeur, romance, and even poetry in Soviet war films; and in American war films we enjoyed an impeccable visual sound field and the thrill of adrenaline rushing. Of course, I am referring to the films that mainstream theaters and general TV stations are willing to do. Although I had never been to a war and never wanted to go to war, I always suspected that the real war was different from the scenes in the movies I had seen.
A real war probably doesn't make all the participants boil with blood, and it never will be that way to describe it? - Then "good looking".
≪ foxtrot ≫ gave us a ridiculous setting as soon as they came up: the people in the military department came to their parents' house, and when the door opened, they honestly informed: your son is dead, "sacrificing his life for the country", now as a martyr, etc., the rank is added two levels as usual, the funeral tomorrow afternoon, if you want to help carry the coffin, but we suggest that you still support your wife... When the mother's back began to twitch, the men did not say a word to lay her flat, and the clothes were lifted up and a sedative was injected. Looking at it is not a funeral, it is simply ready to be hijacked and then tear up the ticket. When the expressions on Dad's face were not all in place, these people had planned the next appropriate reaction for him before he began to attack: to drink water. Press your head and take another sip. We will correct the alarm for you, and once an hour in the next half a day, when the alarm rings, you must remember to drink water, whether you are thirsty or not, you must remember to drink, and there will be military personnel who plan funerals to do psychological counseling...
When I saw this first verse, I only thought it was the director playing with some imagery like some magic avant-garde and the like, because the absurdity was crazy, and it looked like it could only be allegory rather than reality. Who knows in the final Q&A, Mause said that the Israeli military mourning is like that, there is a set of strict and perfect procedures to follow, and all kinds of people responsible for calm psychological counseling are really there. Then this becomes a very serious problem: although the shadow of war may come at any time, but at least at this moment it is out of our sight - in this state, the body of a soldier already belongs to the state, what about the people who did not join the army to respond to the call to defend the country? Do their bodies, their stress responses, their expressions, and even their emotions all belong to the state?
Next – hey, get it wrong, it's not your son who died, it's a big name. Do you want another glass of water? One more shot?
When the foxtrot dance, which was spinning in a frenzy, reached the second step, we met his son-in-law, who turned out to be a childish child soldier. I thought that what was stationed was a dangerous barrier, but it turned out to be a lonely broken road on the Gobi Desert. Don't say anything about the howling terrorist holy warriors, except for the 4 young and beautiful baby soldiers, even a personal shadow is rare to see. A wild camel was more bored than they were, and paced listlessly over.
body. thought. affection. All the honor goes to the nation
These four little soldiers are going to be placed in the American film, estimated to be full of mouths of prickly head strips and marijuana smoke. In a Soviet film, they suddenly sang a Russian folk song very professionally. In Chinese films, they can say many noble truths about defending their families and defending the country with any mouth. But they were Israeli soldiers, much smaller, and suddenly looked sluggish: they did not complain, but they did not communicate with each other frequently, and there was an as-matter-of-fact hole in their handsome eyes. In addition, they are doing some very civilized things that are only possible in the desert: repairing the stupid military radio, playing old songs on rainy nights, drawing cartoons of their father and their dark secrets, dancing with old songs, and so on. Only then did they seem to no longer belong to the state in body and mind, no longer seemed sluggish, and began to have spirituality and personality.
But this group of young, beautiful, spiritual child soldiers, no matter how innocent and literate, when the time comes, they will turn into killing machines in the next second. Without blinking an eye, you can shoot a cart of equally young and beautiful men and women into a honeycomb, and the reason can be simple and simple to "not afraid of ten thousand, just in case".
Some people who see this may explain to these little soldiers with the anxiety of their people that it is not easy to live in fear and vigilance every day, after all, they live in the land they have plundered. But once they found out that they had run into trouble, they quickly turned all their brains and emotions into the national treasury, because they knew that there would be a national father to wipe their butts, and the expression on their faces was repetitive and sluggish. They have been trained in systems like this since childhood.
Not all of this drama is this kind of wooden man who is left to the arrangement of the state. Ashken nazi, the national treasure actor who plays his father, has excellent acting skills, and his Michael is the most anti-bone role in the whole film. As a child, he stole an antique Hebrew Bible that his mother brought out of a concentration camp and exchanged it for a yellow pictorial, and when he grew up, he sent his majestic German-speaking mother to a mental hospital. Although he also served in the military, his basic life direction was his own setting. Of course, such disobedience will not end well under the grand premise of the national interests of the country - his obedient and precious son who has come back from the dead will eventually die indirectly at his own hands.
Since ancient times, the red face has a thin life: the water is as tender as a si, and it is inexplicable to die
When the foxtrot finally jumped back to its place, the military vehicle was driving on a dilapidated wild road. I held my breath and waited for the mine to explode. A rocket roared over. A black-clad Arab woman wrapped in explosives screamed and rushed toward the car.
None of them turned out. Zhong Lingyuxiu's Jonathan died the most boring and meaningless way to die. It seems like the stupidest sacrifice. This is actually a crowned sacrifice for the country.
It is said that after winning the jury Silver Lion in Venice, the play was criticized by the Ministry of Culture and the military in Israel. During the audience's questioning, Moz said that there were all kinds of curses there, as if most of them were traitors and traitors.
"Then why did you think of this theme, this entry point?" A bearded young man in the audience then asked.
"Because I'm Israeli. Because I'm going to worry about this country. Because I care. Mozi replied slowly.
I suddenly remembered another country. I remembered many things in the past and now.
Director and actor
TIFF 2017 Wed Sep 13th. Elgin Wintergarden
CREATOR: Two cows
DESIGNER: JIN
EDITOR: TONY