If you visualize loneliness, it is about the closest to blue. So loneliness on the screen is always blue.
From Kieslowski's "Blue" to Sophia Coppola's "Lost in Tokyo" to Doris Dri's "Cherry Blossoms", the deep, shallow, thick and light blue reflects all kinds of loneliness, blending from the screen, gradually filling the entire viewing space, until it penetrates the viewer's heart.
The blue of "Blue" is like a deep sea of the soul that does not see the light of the sky, it is the loneliness of trauma; the neon blue of "Lost in Tokyo" is like the night of the city, at first glance gorgeous and colorful, close to see but full of lice, it is frustrated loneliness; the day and blue of "Cherry Blossoms" itself is also like a dance, peaceful and introverted, walking alone, it is the loneliness of twilight years.
The blue of the blue-white-red trilogy
The debut film of Italian director Carlo Siloni,"Soleil," is visually shot in a washed mint blue, which retains the natural visual coldness and calm tone of the blue system, while also having a clean sense of primacy. It is young and lonely.
One is a small who plays a game, and the other is an alien race pregnant with Liujia, and Emmanuel and Lena pretend to be lovers to exploit loopholes in the law so that Lena can sell the child in Lena's womb to Emano's infertile uncle. As agreed, they moved into the maternity apartment rented by their uncle, and Emano was responsible for taking care of (monitoring) Lena and ensuring that the mother and child were unharmed. As long as the child is born healthy and completes the transaction, they can each take the money and leave.
There's no plot, just living; no dialogue, just minimal necessary communication; not even any visual content, most of the time just two people, a room, and a large unfilled mint blue base. This gives the film a sense of vacuum, so that the camera (which is also the audience's eyes at this time) can only gaze more intently at the faces of young boys and girls — two faces that are equally vacuumed.
"Soleil"
This vacuum, on the one hand, is the innocence of no content, no trauma, no story, no accumulation of years, this kind of young loneliness is not purely acquired loneliness, but an innate and untrained original loneliness. Second, these two vacuum faces didn't even have much emotion. Coupled with the composition of the plate and the fixed camera position, the loneliness in the shot of "Sole" is almost static and stagnant.
"Blue" has a kind of emotional tension that sprays from the inside out, a kind of action trend of struggling to swim from the deep sea and looking for light; although the rhythm and mood of "Cherry Blossoms" are much more relaxed, the song and dance are struggles and mediations again and again, and finally gradually internalize the thoughts; "Lost in Tokyo" is also a wandering dilemma, there is no certain direction or result in "Blue" and "Cherry Blossoms", but there is always a confrontation against loneliness.
"Cherry Blossoms in Full Bloom"
Lost in Tokyo
But "Solai" not only does not have a flowing tendency, like a parallel extension, an infinite copy of the fragment interception, Emano and Lena's loneliness is at this moment, but also every moment, born to be so, probably in the end there is no way out; not even there is an inner confrontation, just acceptance, habit and numbness.
This is the loneliness of Emano and Lena, and the loneliness of contemporary young people. Loneliness is certainly not a primitive human nature, but it seems to have evolved into the second nature of contemporary young people. Thus, following the principle of conservation of matter, in exchange, the instinct to form emotional relations has become an acquired ability, and more and more people are clearly unable to grasp this ability. This is probably what the director said: "Today's young people seem to have lost their understanding of love" - they are familiar with loneliness and unfamiliar with emotions. They are at ease in loneliness and after the king's name, but they are helpless and afraid in the face of emotions. But in the end, has the desire for emotion in people's hearts died? I'm afraid not.
Ben is a rootless outsider, without emotional support and belonging, Emano and Lena earn their own way of life, living day by day. So it is the most free, and the most "ruthless." For others, it is natural not easy to have a sense of emotional connection and responsibility. But premature babies need to be breastfed, so they have to take care of their newborn babies like a real pair of young parents. The girl who was bent on waiting for the "unloading" to take the money and leave turned out to be reluctant to give birth to the baby in her arms; the hanging erlang was a muddy teenager, and even silently observed the work of the garage and told Lena that she could support them both. And, of course, the more subtle details behind the main twists.
Numbness begins to awaken, stagnation begins to tremble, and indifference begins to matter. The stationary mint blue background tones flow slowly.
The symbiosis of unquenchable emotional longing and long-degraded emotional capacity in the medium of loneliness is the central contradiction of the film. The contradiction itself is not much new. Romance dramas often open up a field of daydreams that are unattainable in reality to care for the love psychology of young people at present - the love that cannot be encountered in real life can be easily created in this field. Carlo Siloni's care is the opposite, he chooses to look directly and deeply into the contemporary young people whose love has not died, but who cannot establish and maintain love relationships. In "Soley", there are two lonely souls snuggling in a specific environment, and the outsiders of the two mainstream worlds know each other in a sense, but that is probably not love, and the film does not intend to produce a dramatic "being" in the "nothingness" of reality. The kiss scene in the candlelight is a rational longing, more than a sensual intoxication. It is the lonely soul that is accustomed to the instinct of emotion that has been stimulated, and wants to love, so it is soberly eager to be close, and does not fully understand love, so it is clumsily tempted and jerky to feel. Love is an occasional probabilistic event aside, and affection seems to be a luxury. The child in his arms wants to stay, but it is difficult to stay. The difficult choice triggered the only emotional outburst in the whole film, but it was still only restrained until the end. To them, this is superfluous and useless. Wanton emotional expression is the prerogative of those who live without worries.
The film does not romanticize the lack of ability of contemporary young people to love, to create a love for them; it does not idealize the actual choice situation faced by the Emmanos and Lenas, and give them a human comedy - this is precisely what I think "Solai" is the most precious place. Its sharpness, its measure, makes people want to shout out loud.
Although the director himself said that the film only cares about the two people in the film at most, and cannot care about the larger group, in fact, the film's completely de-dramatic and completely life-like language style makes the emotion conveyed by the film more universal and the scope of empathy broader. Edge teenagers, baby trading, the elements of the film itself are very dramatic, but the main creators do not want fierce conflict, curious snooping or fishy rendering, they are looking for daily life in the event - under the story structure of baby trading, the audience sees the life scenes of waiting for childbirth, breastfeeding, eating, sleeping, visiting supermarkets, doing inspections, etc.; looking for commonality in individuals - restoring marginal boys and girls to the young people who lack the meaning of life everywhere in this society, who are accustomed to loneliness and long for emotions. At the end of the film, it is also clean and clean, and what kind of future they will have, the audience does not know. Just like every young person today, he always doesn't know where to go. The creators don't mean to provide answers or output value, but just out of a gentle gaze of perfectly reciprocal perspective. The title "Soleil" means "sun" in Italian, which was originally Lena's message to the child, but I think that what really shines like the sun on the people and the audience in the film is the gentle gaze of the film's creator.
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