All along, as viewers, we can generally distinguish between two different forms of presentation for films, one is figurative and the other is imagery. Figuration is a direct expression that immerses the audience in the story, follows the story along the film to the creator's destination, and then experiences the creator's original intention. There is also an expression of imagery, imagery is not easy to understand, because the film itself is the embodiment of the creator's personal thoughts, if he expresses personal thoughts, in a way that he tells the story in his own way, then the general audience naturally cannot understand.
That's why films have a distinction between commercial and art films. Most of the so-called commercial films tend to be concrete, and we as the audience can clearly and clearly see the story that this film wants to tell, and finally understand the core theme of the story and the meaning of the creator to be expressed through this storytelling story. This kind of figurative expression also attracts the largest audience, so it is relatively easy to succeed commercially.
The imagery expressed by the art film does not stop there, and it may not have a mature and coherent story to attract a large number of audiences in a short period of time. The focus of art films is on the grasp of the author's ideas, but this grasp is not popular, even professional film critics can not grasp this idea completely, sometimes peeping out a little is enough to make people excited. Therefore, the commercial value of art films is not high, for the simple reason that many people cannot understand it. If you lose a large number of ordinary audiences and turn your orientation towards some film critics, then it is already doomed that art films will not succeed commercially. Therefore, our criteria for judging films are not just commercial box office. Under the multi-level evaluation system, the film will be more prosperous.
Based on the above, the movies recommended to you today have been said. "Last year in Marionbad" is a movie of "relatives and enemies are fast", of course, such a statement is not very appropriate, in general, this is the meaning. The film wasn't very friendly to most viewers, but it wasn't too friendly for more professional critics. Because the degree of divergence of this film is obviously beyond the imagination of many people. Therefore, as the creator Arun Renai, the significance brought to him by this film is extraordinary. Alan Ray has its place in the history of European cinema in the mid-twentieth century because of the creative ideas set out in this film. As a result, he became one of the directors of the New Wave.
What kind of movie was Last Year in Marionbad? It is an art film, it is an art film that withdraws from the story, or completely fragments the story and dilutes the existential meaning of the story. The film tells a love story through the intersection of memory and reality. The hero and heroine each illustrate the story from different angles, and this story we as the audience can only see a rough idea, or a large framework is telling a story, but when you carefully taste it, you will find that this story is not a story.
This is not playing a word game, but I really see a new meaning in the director's expression. In the past, our focus on the story in the movie was the story itself, and the characters were part of the story, which was the basic logic of most people watching movies. These memorable characters exist because of the story, so the story is the basis for the film itself, and the characters are the color matching material. Under such a movie-watching logic, the backbone of the movie we see is the story, and in the end, the story will leave a deep impression on our viewing process.
This film is different, this film does not use a subtle story as the logical context of the entire film, but uses the characters as the core of the film. This way of using characters as the core is very thorough to break the story. Therefore, when the characters are at the core, the story is fragmented. It does not constitute a consolidation of the role's status, but exists alone in a certain sense and has a strong jump. In this way, the audience will be blurred.
We have seen many character-centered films before, compared with the contemporaneous New Wave films "Four Hundred Blows" and "Exhausted", the main element of these films is the character, but the story is not completely withdrawn, all the stories are in the service of these characters, but the basic logical framework of the story is still there. But "Last Year in Marionbad" is not like this, the story in this film can not be forgotten at all, we just need to follow the character, follow his thinking, and finally understand the film more.
In this way, it provides a new idea for creation, the story can be completely separated from the characters, and for the many elements that make up the film, it is completely possible to create according to a certain element as the base point. In fact, this film has a very simple idea to provide reference as a reference for understanding the creator's intentions, that is, the word "last year" in the title of the film, which fully shows that the character's cognition will be biased in the timeline, and this deviation creates the jumpiness of the film in a certain sense.
Memory will be diluted and deepened with time, the difference between the hero's memory of himself and the heroine's memory of himself must indeed come from the two words "last year". However, these two words completely helped the film to withdraw from the story. Without the story, can the movie still be watched? Of course, movies are more than stories.
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Hello and goodbye