After watching "Little Harbor", I was a little confused in my heart, I didn't know how to say it, and there was a moment in my mind that "drama comes from life" The sentence flashed, remembering the recent news, "hundreds of tons" every day. Perhaps, the ups and downs of life and the clutter are more prosperous than movies.
"Little Harbor" mainly tells the story of a little girl Yara who is not loved by her mother, and Christian, a neighbor who is overprotected by her parents, runs away from home. By chance, they lived together on a small seaside island and cared for two twin babies who were not cared for by their mothers.
Without the support of adults, they worked hard to create a living environment for themselves – fishermen's boats. It reminds me of the four children who were suddenly abandoned in Hirokazu Kore-eda's "Nobody Knows"; "Walk with Me" starring Rivan Phoenix, four teenagers with their own family problems; and "Moonrise Kingdom" directed by Wes Anderson, where the little boy Sam and the "problem" girl Susie also ran away from home. None of these works are indictive of parents' lack of family responsibility and lack of affection.
In her book Our Inner Conflict, Karen writes, When a child feels that he is special and no one can understand him, he will begin to alienate others, and at this time he does not want to belong to others nor to rebel against others, but only wants to be alone. He will stay in his own world, a world he has built with books, toys, dreams and nature."
And it seems to me that sometimes this conflict arises because their needs are ignored, they don't get the love of adults, they don't get real attention, so they need to create a safe environment for themselves, an ideal "utopia", a hopeless "sustenance".
They don't want to be attached to anyone, or to create this situation of inability to cling to, is the cruelty of reality. They can only retreat to the second place, relying on their own two feet to stand in the world. In the movie, the young Yala did not choose to create this situation for herself because of her conceit, but because she really could not get the love of her family and the care of her elders.
Before her grandmother died, at least she still had her grandmother's fragile "protective cover", and a "finger nursery rhyme" of her grandmother, a disorganized "home" that could be used as a safe haven. When her grandmother died suddenly, she was the only one left. Because of her playful and irresponsible mother, Lucia did not treat her as a child who should be taken care of, only as a "drag oil bottle" for her own progress, and did not care about her life and education at all.
Therefore, when the film shows a "housewarming dance" between her and her mother, when the music suddenly stops, it brings the audience not only sighs and loneliness, but also a painful sense of isolation. That deep sense of powerlessness seemed to seep through the screen. Like in the darkness of the night, the clothes that had been thrown all over the floor outside the room, like her mood, were chaotic, unclear, and helpless, abandoned beings.
It is precisely because her life is so difficult that Yara's heart will become lonely and strange, and she will not be treated well, spontaneously want to have her own love ability, and firmly believe that she can create the future by herself. There was a lonely love within her, and this love was spontaneously activated when she met the two twin babies.
Psychologists such as Freud, for example, believe that man is a product of the past, especially childhood experiences. These experiences become subconscious and determine our lives. Suppose a child receives an incomplete, unhealthy love, and he will spend his whole life trying to integrate them.
Although the film Rialla is still only a 10-year-old little girl, she, under the eyes of society, jumped up without her mother's love, but instead took on the responsibility of taking care of the weak. This kind of responsibility, which is not simply "passing the family", is distorted and is also a strong belief in love. And christian's weak heart was touched.
So we can see that she strives to plan for the future of the babies, but also for herself and Christian's future. Even if this practice is incorrect or difficult to achieve, she, like a small adult, strives to achieve it. When she delivers her feverish baby Andra to her mother, it is not only a renunciation of the "right" to love, but also a wordless farewell and a clear line.
Through this child, she seems to be swearing her independence and "returning" herself. Like the crazy artist Dalí returning his sperm to his father, he is willful and bold. Only when disappointment and despair coexist, and the feeling of powerlessness can no longer support themselves, will people's extreme behavior be so displayed. But perhaps, it was the only means she could think of to save the baby.
Needless to say, the idea and lens language of "Little Harbor" are very outstanding, and it is well-deserved to win the Crystal Bear Award in the New Generation Unit of the 67th Berlin International Film Festival. But throughout the film, the open-ended ending left behind is still like a desperate sigh, where will they go in the end, and what can we do? It's like a blue worry in the middle of the sea and the sky, which can only float with the fishing boat...