<h1 class= "pgc-h-center-line" > those who refuse to work in independent films</h1>
When I left my desk every hour under the pretext of going to the toilet and doing shoulder and neck stretching exercises in the corridor by the window, the sight I saw gave me a deeper understanding of the "hit worker", a terrier that has been very popular lately.
Every time I can see my co-workers on the same floor and from different companies smoking: some squatting, some leaning against the wall, some holding a mobile phone in one hand and a cigarette in the other, and their expressions are a little bitter and numb.
There is no such pride in "the iron will of the subway security inspector to make the subway security inspectors sound non-stop", or "there is no difficult work, only the brave workers".
I'm pretty much the same myself.
<h1 class="pgc-h-center-line" > people who refuse to work, happy? </h1>
Working in an office building reminds me of school.
Going to school and going to work, you can see a group of people pouring into a building in the morning, foraging for food at noon, leaving in the evening, and so on.
The Rush Hour, L.S. Lowry, 1964
When I go to school, I also use the name of the toilet to hang out of the classroom. But compared with the confused eyes of the beaters, the students seem to be more radiant. They may also be anxious about grades, but there is always hope and hobbies: novels, comics, games, music, even yellow websites.
It turns out that going to work is not only not pleasant to go to school, but also makes people lose their personality?
American youth film "Leading the Way"
I suddenly thought of the epoch-making American independent films I had been studying recently: Jarmusch's Stranger in Paradise, Soderbergh's Sex, Lies, Videotape, Linklater's Urban Ronin...
The protagonists are prodigal sons who refuse to work: although they do not work, their lives are very good. In particular, "Strange Shadow in Paradise" and "Urban Ronin", although fictional, are very real, and such people in the movie can be found around us.
Confused about the meaning of work, I became more and more interested in understanding what these people who refused to work thought and where their happiness came from.
<h1 class="pgc-h-center-line" > reject busyness and efficiency</h1>
Jim Jarmusch debuted earlier than Richard Linklater and Quentin, independent directors who rose to prominence in the early '90s.
In 1984, the Sundance Film Festival, the "cradle of Independent Cinema in the United States", was in the ascendant, and he had already won the Best Debut Award at the Cannes Film Festival for his first official feature film, "Stranger In Paradise".
Jarmusch's Strange Shadow of Heaven
The grainy, bleached images, the discordant strings in the soundtrack and the cry of "Howling Jay Hawkins" give the $110,000 black-and-white film a weird charm.
It is about Willy, a self-styled Hungarian immigrant living in New York, who at first reluctantly accepted her cousin Ava, who had come to the United States from Hungary, at first reluctantly to stay at home for ten days.
During the short and boring ten days, Ava with her personality gradually won Willie's favor and became friends with Willie's good brother Eddie.
By the time ten days had passed and Ava was leaving New York for Cleveland's mother's house, Willie and Eddie were already very upset.
A year later, Willie and Eddie suddenly want to drive to play with Ava, and then the group decides to leave the cold Ohio and go on vacation to Florida with sun and sand...
The three of them wandered around the beach
The movie has no exciting plot, and three young people have been wandering around, in the words of a Douban film review:
"The young people in this film, half big and not small, have no serious things to do, and if they have them, they should not be regarded as serious things." There has never been success, no attempt to succeed, no sex, no sexual interest, no achievement, or even the idea of wanting to achieve. ”
The film's approach is also adapted to the characters' idle attitude to life: the film is slow-paced, with only one shot per scene, usually up to a minute. The camera is usually fixed, and the characters do not make large movements, but occasionally say a few words of dialogue that have no information in a tone that lacks enthusiasm.
What does it mean to live like this? How could anyone watch such a movie? When I first came into contact with Jarmusch, I also issued such a soul torture.
But then, due to some opportunity, I suddenly understood the charm of his films.
Most of the characters in Jarmusch's films are people who like to pretend to be cool and try to hide their emotions, and pretending to be cool has become an obstacle for them to express their emotions. But this obstacle will eventually dissolve in the relationship with others.
Jarmusch's Mysterious Train
For example, willy and Ava in "Strange Shadows in Heaven", they may be only 1% closer to each scene, and if they don't let go of the rush mood and the expectation of excitement when watching, they will miss this 1%, as if they have not said anything.
However, this 1% is accumulating: Willie is at first angry with Ava, and then slowly moved by her personality, until she buys her a dress before leaving and wants her to try it on.
At the end of the film, Ava was originally disappointed in Willie and Eddie, ready to fly back to Europe, the brothers saw Ava's note left in the hotel and immediately chased to the airport, who knows the camera turned, Ava at this time because of reluctance to return to the hotel...
Accumulated to the end, the human touch came out.
This is not the sensationalism created by exaggerated performances, but the emotional exposure that cannot be hidden by a few serious and expressionless people.
It's a movie-going experience that requires patience and active participation, and when you feel this subtle human feeling in a movie, you feel that some kind of dormant sense of the body is awakened, and you feel that the movie is worth it.
In addition, Jarmusch's films, from the characters to the director's intentions, reflect a rejection of busyness and efficiency.
In Outlaws, Mysterious Train, or Patterson, none of the characters have a mission of sort, like Hollywood protagonists, rushing toward their goals.
They are slow and leisurely passers-by.
In "Strangers in Paradise", Willie once asked a hurried worker in the car for directions, but the latter refused on the grounds that he wanted to wait for the car to go to work. Eddie asked Willie, "Poor man, can you imagine working in a factory?" The latter replied, "No, I can't." ”
In fact, the audience and even the characters themselves know that this idle life is somewhat monotonous and boring. But Jarmusch is one of the few artists who dares to confront this problem.
Unfortunately, our lives are not as thrilling as in novels and movies.
We are ashamed to admit that boredom accounts for a large proportion of life, and in order to eliminate boredom we are willing to do anything, so that we can get busy and not think about it.
If life can tirelessly climb one mountain after another, and always maintain courage and perseverance, it is a good thing.
But there are many people who do not have such a strong desire to conquer and just want to live comfortably and enjoy themselves, but society insists on giving this group of people the title of "losers".
Share "The Big Bang Theory" from K Star Man @ Ton Ton
Willie and Eddie are like this, they rely on gambling to get money without stubble, and most of the time their lives are lackluster. But after estimating the damage and benefits of their work, they chose to stay the same.
It is better to be bored than to be unaware of the so-called busyness, so that at least temporarily preserves the ability to personality and feelings.
There are thousands of directors, but Jia Mu xu tries to promise "doing nothing" to justify: it is okay not to rush, and boredom is not so terrible.
Jarmusch "Patterson"
When you stop clinging to "what the movie says", you will find that "nothing is said" can also be interesting. If you don't see achieving your goals as the only joy and everything else as a failure, you may find the beauty of the unexpected.
< h1 class="pgc-h-center-line" > not working, or is it a loser? </h1>
Richard Linklater's debut novel ("Urban Ronin") is simply named "Slacker", a word that translates in the dictionary as "the one who escapes work and hard work".
Carol's resonant lines
The director creatively portrays the lives of a group of marginalized people.
The film has no specific plot and no protagonist, the camera's perspective is like a drum blowing flowers from one person to another, people make or hear all kinds of high opinions on the street, and often do unexpected behavior.
Among them are middle-aged conspiracy theorists, who claim that the CIA has obtained a drug in the rainforest of Guatemala to erase people's long-term memories and retain only short-term memories, so that they can do the coolie of outer space colonization;
Anarchist elderly intellectuals who recall their heroic deeds during the Spanish Civil War;
And the beautiful woman on the movie poster claimed that yesterday someone was smirking on the highway while brandishing a gun and banging her head off, and selling to passers-by the cervical slices of Madonna that she had obtained from her gynecologist friend...
More than thirty odd and perverse characters take turns, doing everything and talking about anything but work.
Shooting the first film in one's own neighborhood seems like a tradition for independent filmmakers.
"Strangers in Paradise" is set in Cleveland, where Jarmusch was born, and in New York, where He studied, and "Urban Ronin" was filmed in Austin, the capital of Texas, where Linklater is based. At that time, Austin gathered a large number of musicians, hippies, and artists, which was the paradise for grotesque ideas.
"Urban Ronin", an independent film that cost only $23,000, unexpectedly became a famous cultural event that year. Perhaps the reason for this is that the film spearheaded Generation X in the United States.
"Generation Xers" is used to refer to a generation in the United States born in the mid-1960s to the late 1970s who have no predetermined future and are reluctant to pursue the occupation or lifestyle of their parents.
These people are not as idle as Jarmusch's characters, but because their interests are not recognized by mainstream society, they cannot produce value, and they are also deprived of the rationality of existence and are classified as "losers".
Richard Linklater, Urban Ronin
Although the characters in "Urban Ronin" have their own interests, they are very different from the state of concentration and enjoyment, and the film is filled with an air of boredom.
Some described the group as "fashionable, young, educated—so exhausted that they could not work." Linklater also said in an interview:
"Even though they seem to be walking around and giving a sense of action, the topics they talk about make you feel like they're not actually going anywhere."
<h1 class= "pgc-h-center-line" > taken away when the work is taken, more than it brings</h1>
Although avoiding the pressure of work, the strangers in "Strange Shadows in Paradise" are wandering aimlessly, and the ronin in "Urban Ronin" are anxiously wandering in place, neither of which is like a long-term solution.
In fact, if the content of the work is what you like, if the benefits of the work outweigh the disadvantages, who will unconditionally hate the work?
However, the reality is that we do not want to repeat the lives of our parents but cannot find other ways out for a while, and work more often to solve the "existence" of food and clothing substances.
In 1961, the Italian poet director Paolo Pierre Pasolini's debut novel Beggar was a more artistically valuable hit-the-worker film.
The idle pimp Agadon, because he met his beloved woman Stina, decided to turn back to evil and support his family by work, but his lazy body was tired after the first day of work.
Faced with Agadon, who was tired and paralyzed in bed, Stina offered that if you didn't want to work, I could continue to stand on the street to make money, at which point Agadon made the strongest voice of anger:
The next day, he was killed by a car while evading police pursuits after a theft.
At this point, I have traveled back and forth between the toilet and the workstation countless times, but my doubts have not diminished in the slightest. When work is taken away more than it brings, we have to re-examine the meaning of work.
Personally, I don't think work is a natural thing to do, and finding a rhythm that suits me is the one.
If you don't work, you can live comfortably, don't care about prejudice and accusations, how comfortable and how to come. If I had to work, I would like to see not only food and clothing, but also because I can see certain possibilities at work.
Identify the painful parts of the work and see which are caused by the mechanics of the work itself and which are caused by one's own lack of concentration.
Try to do the work you love, or make people willing to pay for what you love.
We live for the joy of life, not for work. To do this, you probably need hard character.
So, what does your work bring to you? Feeling accomplished or annoying? Leave a message to share with you.