Foreword: The official poster released at the 69th Cannes Film Festival adopts the picture of Jean-Luc Godard's 1963 film [Contempt], presenting an elegant and seductive golden color. Whether this year's Cannes Film Festival has put this "play within a play" film on the foreground, whether it contains other meanings is currently unknown, but the "play within a play" structure is indeed an enduring artistic technique in the film. For example, Iranian director Abbas Kiarostami's "Lover Under the Olive Tree", and then the Coen Brothers' recent work "Long Live Caesar".
In the Eastern and Western civilizations, the aesthetics of "drama in play" have a long history, and in ancient China, there was a saying that "Zhuang Zhou Dream is a butterfly", and there is also a systematic psychoanalysis in the West that the structure of "drama within a play" can always give birth to the meaning of the mutual replacement of reality and illusion, which is both surprising and philosophical, and it is even more wonderful to put it in the film art of mobilizing audio-visual.
[Contempt] Le mépris 1963 Director: Jean-Luc Godard
In [Contempt], Paul's identity as a playwright makes it natural and necessary for the film shooting scenes that appear in the film. Paul's words and deeds became the source of contempt for his wife Camille, and the film "Odyssey" was not completed, but the marriage between the two came to an end.
I have to say, [Contempt] is an interesting film. Except for the Odyssey crew that appears in the story of the film, as soon as the film opens, we can walk through the camera and look at the actors and crew who are shooting on the screen, who are the same people and the camera that shoot the whole story behind it. In the introduction of the voice-over, the actor and the camera are getting closer and closer to the camera, and the camera that shoots the film is "looking at" the pure objective camera in reality, at this time, the two are integrated, and the story really begins.
[The Woman of the French Lieutenant] The French Lieutenant's Woman 1981 Director: Karel Reez
[The French Lieutenant's Woman] is based on the book of the same name, in which Anna, played by Aunt May (Meryl Streep), and Mike, played by Uncle Iron (Jeremy Irons), are both actors, both playing the male and female protagonists in the same movie. At the beginning of the film, through a scene by Anna at the beach, we can get a glimpse of the daily shooting status of the crew.
However, the story under the lens of director Karel is easier to understand than the original. The story of "play within a play" alternates with the lives of Anna and Mike in the film, and the feelings between the two pairs of men and women also have similarities. However, Charles eventually finds Sarah, and the two "eventually become a family", but Anna escapes from Mike, who already has a family after the filming of the film. Love is great, but reality is always reality.
[State of things] The State of Things 1982 director: Wim Wenders
Wenders completes his creative self-confession through a play-within-a-play story. The director's concept in the film reflects Wenders' own voice - the film should depict the state of things. The difference between the director and the producer represents the difference in the values of art films and commercial films.
When to record the state of things, when to tell a good story, a little to art, a little obedience to business? This is a sense of proportion that every director has to grasp.
[Ruan Lingyu] 1991 Director: Guan Jinpeng
Guan Jinpeng makes the film have three levels, and the story returns to Shanghai in the early Min Dynasty, exploring ruan Lingyu's life inside and outside the play. And Maggie Cheung, who plays Ruan Lingyu, often jumps out of the story, fades the costume, and exchanges shooting experience with other creators.
The courage of female artists in the pursuit of happiness and freedom in the two eras has not changed, but the situation is very different, and the contrast and interweaving of this time and space are quite a bit of "The Woman of the French Lieutenant". The end of the film is a magic pen, in the story Ruan Lingyu died, the director shouted to stop, actor Maggie Cheung opened her eyes, life and death are successive, fate is reincarnated.
[Lover under the Olive Tree] The Olive Trees 1994 Director: Abbas Chiarostami
Filmmaking in [Lovers Under the Olive Tree] is a cover, in fact to tell a love story. In this relationship, class barriers, post-earthquake pain, and material deprivation could not stop Hussein's pursuit, while Tahri never said a word.
Film shooting adds a drama to the relationship between the two, Hussein and Tahri are the male and female protagonists of the film, because of the needs of the filming, the two people who would not have a dialogue have begun to communicate, and the persistence of a scene can increase the time spent together, which may be Hussein's intentional design, but more is Abbas's ingenuity. The film shot by the crew is Abbas's 1991 work [Raw Growth Stream], and the film also mentions some ups and downs in the filming of [Raw Growth Stream].
[Khmeral Rhapsody] Living in Oblivion 1995 Director: Tom Di Siro
The translation of the film," "Kaimaila," directly states that the film is related to the camera, and the original English title "Living in Oblivion" associates the film's shooting in a dream, which should be "dream play" to be exact. The structure of the film is very clear, roughly divided into three segments, the first is the director's dream, waking up and excessively entering the dream of the heroine Nicole, and waking up again into the last "anxious dream".
The detailed display of the length of the film in [Khmera] reflects the real production of independent small-budget films, director Di Siro once said: Filmmaking is a long, boring, boring thing, and Di Siro's inspiration for this film is also obtained after experiencing the difficulties of shooting small-cost productions of "Dream Johnny" and "Boxlight Night".
[Rainbow Goddess] Rainbow Goddess 2006 Director: Naoto Kumazawa
Aoi Sato, played by Ueno Shuri, is a member of the independent film production team in the university, and she wants to complete a movie called "THE END OF THE WORLD" before graduation, she finds Kishida Tomoya as the male protagonist of the movie, and due to the conflict between the actors, she becomes the heroine, so this is another "lover's dream" about the movie.
In addition to "Rainbow Goddess", the film content about independent production in [Woodpecker and Rain], [Tokyo Park] and "Kirishima is retiring" also links zombies and the end of the world, and perhaps for the difficulty of independent film shooting, only the end of the world can reflect the beautiful side of reality.
Director Banzai! 2007: Takeshi Kitano
This film is one of Takeshi Kitano's "self-deprecating trilogy". In the film, Kitano Takeshi makes a ridiculous deconstruction of himself and even the Japanese film industry, in the play, he is the protagonist of various clichéd genre films, outside the play, he is silent, lonely, and very stubborn.
Takeshi Kitano did not use the "play-in-play" structure to explain the profound philosophy, but just wanted to have a sincere and non-utilitarian conversation with himself and the audience.
[This is not a movie] This Is Not a Film 2011 Directed by Jafa Panahi
In this film, director Panahi mingles with the audience. Due to the pseudo-documentary model, "drama" and "reality" are mixed together, and in front of the camera, Panahi dismantles for the audience the film he has recently conceived but cannot be shot, and from time to time calls up fragments of his previous works.
Panahi is sometimes a performer in front of the camera, sometimes a recorder behind the camera, and everything in the picture is both dramatic and real, and until the end, it is difficult for the audience to say whether this is a movie or not.
Why Bad in Hell 2013: Yuko Wen
Yuan Ziwen will not be lost with a literary heart, and on the set of "Why Hell is Bad" it is very similar for Yuan Ziwen to explain why he became Yuan Ziwen. The movie in the movie is to shoot the story of a gangster, the gang leader Muto in order to complete the dream of his deceased wife, said that he wanted his daughter to become a movie star, but during the shooting, there was an accident, the original production team was forced to leave, and Hirata, who took over the director's task, was a super fan, a pure idealist, and the T-shirt said "Cannes" painted with the Oscar little golden man, and his eyes lit up when he heard the word "movie".
The film scene they shot was a real gangster fire, and Yuan Ziwen said it was a tribute to the toei gangster movies of the past.
[Stone will not forget] Bîranînên lí der kevírî 2014 Director: Hurca Amin Gochi
When Hussein was young, the film projectionist's father was arrested while screening the film, and Hussein witnessed the whole process, and this event was deeply imprinted in Hussein's memory, and the story of [Stone Will Not Forget] began. After 30 years of film bans were finally lifted, Hussein and his friend Allen and others threw themselves into the film. The special cultural environment of the Kurdish region makes the film shooting extremely difficult, and the selection of the heroine, the lack of camera equipment and the shortage of funds have become the problems that the entire crew needs to face, and Hussein is even more brushed shoulders with the god of death.
In addition to showing the twists and turns of filmmaking, the film also contains more social value and significance. Hussein's twists and turns in the film reflect the twists and turns of the "Gochi" in the context of the entire era, they let the difficulties and setbacks turn into a film, a frame, and their tears mixed into the rain.
Midnight Gatekeeper ▏ Phoenix River, Hyland, Black Sheep
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