Known as the "grandmother of the New Wave", a French female director Agnès Varda's film "The Fallen Woman at the End of the World", Varda is good at using static techniques to express people's loneliness and the cruelty of life, sometimes like an experimental tendency, in the narrative of a series of soft, dashing, but bold and other characteristics of the exploration, this film is a sign of the maturity of this exploration.
The film tells the story of a wandering woman named Mona in flashbacks. The film opens with Mona being found frozen to death in a field trench by a village farmer, without an ID or anything else that can prove her identity. Then the wandering woman Mona's short life slowly unfolds with the camera in the mouths of those who have intersected with her.
Mona took a broken bag and slept on the ground. A car was stopped on the road, but he was chased away by the discord with the driver and scolded. Working as a car repairman was a relationship with the boss and then left alone. It is impossible to find an ancient castle and many other homeless people seem to find a sense of belonging together, but because of a looting that destroys the castle in the sea of fire, Mona does not quit. A well-meaning herding couple gave her land and shelter, hoping that she would try to live a peaceful and steady life, and Mona was not convinced to return to the road. On another hitchhiking, he met Randil, who studied trees as a profession, and after a short happy time, the two parted ways...
Ignore all the good intentions that seem to be because you have already seen through all the hypocrisy and prosperity. Young people come to visit the old man attentively, only because they want to get the inheritance of the house, but the words that wish you died early have not been spoken; most people deliberately get close to her only because they have a plan for her. Even if others are genuinely kind, she does not want to be discouraged, because she does not care to satisfy the sense of accomplishment of others, because she has nothing herself.
So in every seemingly comfortable place, she will not stay too long; she will leave after every time her heart is straight and fast, and continue to walk alone after each time she accepts the kindness of others... Never thinking about tomorrow, never attaching to yesterday, wandering is her destination. Even in the cold winter, a candle can only be shivered with a candle in a shabby plastic film farmhouse. Even if she could only scold uselessly: it was really fucking cold, she didn't regret it.
When she ended up in the field, she tripped and fell into the ditch. Eroded by the cold, squirming in pain in the vast wilderness, she could no longer stand up with tears in her eyes. Maybe it wasn't that she couldn't stand up, it was just that he didn't want to get up anymore and continue walking in this muddy world.
Agnès Varda came to France to escape the scourge of war and studied in Paris. At the age of 21, he began working as a theater photographer at the Avignon Festival and went to Cuba, Spain and other places to engage in documentary photography. She started out as a photographer and is very good at rendering tones in the shots. In the film, the cold and unglamorous tones, combined with the cold winter, natural, social environment and Mona's heart blend together, showing her short wandering life and also showing her lonely life.
The film is not to reveal the sad life of the little people, let us have sympathy, disappointment or praise for the wandering girl, any life is not distinguished between honor and inferiority, not to mention how many people have been walking on the road to achieve a life that can only be imagined?
Is it not because Mona's lonely death in the cold winter night is defined as a tragedy, and any chosen path of life is just a state of life. Of course, in the cold winter, this is indeed a movie with a bit of "frozen man".
Memoirs of a geisha| late at night, dreams of teenagers, dreams of makeup and tears