<h1 class="pgc-h-decimal" data-index="01" > ["Some things you should know about this film"</h1>].
This movie is a plot, science fiction film directed by Richard Scheickerman, released in 2007, although it is a science fiction film, but in fact, the scene is very simple, that is, a university teacher in a colleague gathering in some chat, which explores a lot of philosophy, humanities, history, etc. Point of view, many friends who can't understand this film will feel that this film, dull, boring, obscure, and the other extreme existence is that there are other people who feel that although the scene is simple, the cost is low. But the meaning is profound, and people can't stop watching it. The plot of the story is actually very simple: it tells the story of a college teacher, John, who tells the secret of his life at a party with friends after resigning. If someone who had lived on Earth for fourteen thousand years suddenly stood before you, how would you face it? Around whether to believe or not, the film opens the curtain.
<h1 class="pgc-h-decimal" data-index="02" > ["through the gap in time"</h1>].
The film talks about the dimension of time. What is being explored is not how humans are interspersed with fragments of time, but how humans use and deconstruct time. Macro history is too far away from our lives, and the impact of this film on the viewer lies in the fluent series of its timeline and the authenticity given by the screenwriter.
Compress time. Everything grows regularly, and as a small individual in the universe, of course, it is not immune. Similar to the growth cycle of plants, so is human life. We often talk about long and short lives, and the lengths of which are relative, there are always some unclear and unclear relationships. Time is precious, not only because it cannot be saved, but also because it is more like a timer. At the beginning of life, it is the door of life and the alarm clock of the god of death.
Time, as part of everything in the world, is explained by Bergson in the course of life. In his view, only the continuation of life is real time, and the digital time discussed by physics is nothing more than an abstract expression of life time. Scholars in the film mention living through patchy time, and the illusion that John is outside of time seems to be a verification of the way physical time and life time work.
"The past is the past and not the present, not just because the content of the past and the present is different, but also because of the role of memory. Where there is no memory, there is no order. In consciousness, the past can exist in the past, which has been completed through memory, before it becomes an event dimension. Otherwise what has already happened can only be placed in a straight line of space, without a directional relationship of flow. So when we say that time has passed, it is we who are in the past."
In this film, the traces and changes left by time on John are abstract, and the only witness is his memory. But memory as a conceptual, individualized expression cannot be corroborated, so the audience can only explore and cannot refute. In the process, John's character becomes more nihilistic as a being detached from physical time.
<h1 class="pgc-h-decimal" data-index="03" > ["Again, talking about existence"</h1>].
When the timeline is infinitely extended, every thrilling event becomes unremarkable, and when the timeline is infinitely shortened, any slight change is a huge ups and downs. Take an individual as an example, how wonderful it is when all the unforgettable events of his life are concentrated in one year. But how boring it is to repeat the events of decades over hundreds or thousands of years.
John's existence is undoubtedly a question of the life cycle. Throughout the ages, people have always had a certain obsession with "eternity". Countless folklore, myths and stories try to beautify it, describe it, and give infinite meaning to eternity, but no one understands what it really is. When the materialized eternity appears in the film, nakedly and dramatically unfolding in front of the viewer's eyes, do we find the eternal existence that conforms to our own thoughts and thoughts?
Even John himself could not give an exact answer. For him, the meaning of life is to consume time. From the beginning of looking up at the starry sky, guess the origin of life. To witness death and live alone, it is more powerless than guilt. Perhaps countless times of skeptical speculation, overturned and then corroborated, one of the themes that this film wants to convey is thinking.
John's story unfolds among a group of scholars, and the roundtable-like storytelling is fascinating. Ask yourself, if the characters in this film do not have the bonus of Harvard's professors of various subjects, but are replaced by a young group, can we have such a discussion ability and knowledge reserve to deal with John's narrative, but simply follow the crowd. This film is different from the brain-opening science fiction film, and it is by no means as simple as brainstorming. All the stories told in the film seem to fill the gap in contemporary thinking. The origin of life, religious beliefs, living space, everything in the universe, all of which can be answered through a simple search in the Internet age, but there is no unified answer.
"The living organism is a continuous thing, his past fully extends into his present, and the actions of reality remain in the present. Otherwise, how can we understand it going through different, distinctive stages, changing our own age, in short, how he has a history?"
The magnificent history is broken down in this film, and on another level, this way of telling undoubtedly provides the audience with a new perspective. In the past, we have learned history from books, memorized timelines and meanings, but we have never felt so close to historical events, whether it is the origin of life or Columbus's discovery of the New World, or the migration of humans or the rise of tribal cultures, the rise and fall of empires is only a point in the timeline, nothing more. John, as a witness and witness, becomes the narrator in this film, so that we understand the smallness of the individual to history, know that any event that affects its course does not cause any waves in the present, and that after the accumulation of time, looking back, it is everything in the past that has made the world and us what we are today.
The difference between Chinese and Western cultures lies to a certain extent in the difference in belief concepts. Every progress or change in Western history has been closely related to religion, and John's account of this is very sincere. There are many ways to record historical facts, from the correct history of cautious rhetoric and objective description, to the wild history of gags and strong subjectivity. Of course, sometimes the recording characteristics of the two are completely opposite. Discussing the beliefs in this film in combination with the recording method has some subjective and objective meanings. Perhaps because John professed to be Jesus, his narrative always carried some perspective of God. In particular, the film does not completely deify religion, but rational analysis, which is really surprising. If you look at it from the perspective of a devout believer, you will feel a collapse of faith, but if you look at it in an atheistic or ordinary way, you will feel something different.
John constantly mentions stories from the New testament and the Old Testament, and the message conveyed in his expressions contains an over-interpretation of myths and rumors. Some viewers mentioned the anti-religious and anti-faith perspective in this film, but is this really the case? The development of the spiritual world of human beings, starting from imagination and hypothesis, is sublimated by religion, and the gods always carry the sustenance of the human spirit. There is also the view that the gods are only the ultimate body of the beautiful fantasies of man's thoughts. Jumping out of John's story itself, the writers and directors may hope to convey a similar view, the protection of the gods is always a guide, and it is not advisable to rely too much on it, after all, the collapse of faith is like an earthquake, that is, a momentary thing.
The intrinsic meaning of the world as an appearance is that all things are only relative beings after all, because for their existence we can always ask why they exist. In this way, everything in front of us and even people themselves are as unreal as a wandering dream.
Therefore, it is necessary to record, and it is also necessary to prove the truth of facts. John in the film, who obtained a doctorate in various disciplines, uses modern science and knowledge to verify the memory of nothingness. The audience in the film begins with the mentality of listening to the story, and then cannot resist choosing to believe, and even begins to question themselves, whether they believe in irrefutable narratives or believe in self-knowledge, which is the first layer of truth explored in the film. In the process of watching this film, the audience in front of the screen is broken in the inherent thinking of the previous science fiction films, becoming one of the members of the room, thinking about John's narration, the performance of the audience in the film, and associating the world in which the individual lives, which is the second layer of truth explored in the film. And the laws of the universe, the movement of the earth, whether there is evidence to follow in reality, or perhaps just cognitive concepts that exist in the mind, this is the third layer of truth explored in the film. The film is repeated in arguments and arguments, and neither the audience nor the audience outside the film can maintain eternal neutrality.
The dreamy and short time and space created by the director and screenwriter is even more unverifiable than Schrödinger's cat. Man, an elusive creature, is the only definite object of discussion in this film.
<h1 class="pgc-h-decimal" data-index="04" > ["Life is a mass of desires, desires cannot be satisfied to be painful, satisfaction is boring, life oscillates between pain and boredom"</h1>].
The film does not waste too much time on human sensual desires, but gives a lot of shots to the desire to survive. Watching Li Yinhe a few days ago, she made a very interesting point, telling you to be more afraid of getting old than you thought. If you think about it, in fact, people can't face death calmly because they can't calmly face the process of demise. Life, old age, illness and death can not be controlled, there is nothing that can be done about the decay of the face, the degradation of organs, this kind of suffocating change just thinking about it, if you really experience it, you will only feel more heartache.
But the wonder of life lies in its uncontrollable, exciting and wonderful journey that everyone has to experience. We plunged into the yearning, so we worked hard, and we changed. The film's reverence for nature and humility for knowledge are, in the final analysis, a reminder of human insignificance. Individualized changes push society forward, but the existence of human inferiority is a real obstacle. Whether the happiness of the individual and the happiness of the world complement each other or cannot coexist, the answer to this question can only exist in the speculation of philosophers.
Endless desires are projected in every way. This film is about the desire to explore and survive, and the process of art and science. In John's account, knowledge becomes a whole, and literature and science and engineering verify each other. Unlimited, is the key word of this film.
<h1 class="pgc-h-decimal" data-index="05" > ["Anti-Hollywood Sci-Fi Romance"</h1>].
The value of this film is not limited to the internal meaning of guiding the audience's thinking, but also lies in the external meaning of changing the film creation mode. The forms of artistic creation are different, and the types of films are diverse, but the core of the story is always the foundation of film creation. Sci-fi can be a visual digital technology or a virtual imaginary space. The power of capital can determine the magnificence of a film, but it cannot measure the imprint left by the film.
In the past, when science fiction films were mentioned, they must think of Hollywood films full of special effects. But even Hollywood films, which have always dominated the mainstream, have begun to gradually change their style in recent years. While relying on technical means to present a better visual experience, it also gradually pays attention to the connotation of the film. The film has the label of a science fiction film, but does not use digital technology at all, but the impact is not diminished in the slightest, and this kind of "anti-Hollywood" film is eye-catching.
As the first countries to follow the Hollywood production model, Japan and South Korea have explored a localization development method on this basis. Among them, the performance of Korean films is particularly eye-catching. Whether it is "Monster of the Han River", "Snow Country Train" or "Busan Trip", they all convey a strong local atmosphere. And China's science fiction films woke up late, even if "The Wandering Earth" has a bright box office performance, but objectively speaking, it can only be regarded as a barely passing result. If you are only captivated by the box office, then China's science fiction films can only represent the progress of science and technology, and the achievements of filmmakers have nothing to do with each other.
<h1 class="pgc-h-decimal" data-index="06" > ["The main danger of a film actor is the so-called stage performance"</h1>].
This theory proposed by Pudovkin seems to make no sense in the film. This film uses the way of an independent film, using a conversational narrative approach, to redefine science fiction in a subversive way. Accompanied by the sound of firewood in the fireplace, John's magnetic voice, and the listener's concentration, the audience quickly entered the time and space belonging to the film.
This immersive cinematic experience is rare when cinemas are closed for more than half a year. Film is the art of atmosphere, the flow of breath, the transformation of light and shadow, and the coordination of sound, all of which are indispensable. Without the blessing of special effects and scenes, the actors' performances are particularly important in this film. "Bringing a play to the screen" is the first thought that comes up after watching the film. We all know that drama performances require actors to amplify their performance effects on the stage in order to convey full emotions to the audience. In this film, the small space creates a natural stage, and the medium close-up lens replaces the viewer's eyes and shortens the viewing distance. In this case, the most perfect performance is not performing, a comfortable sense of relaxation, but it is easier to guide the thinking of the listener and the viewer.
The sensitivity and delicacy of the artist comes from the gaze. The creator's observation, understanding, and re-creation of all things make the work of art attractive and worth thinking about. It is mentioned in the film that new scientific concepts are often first hypothesized through the form of art. It's a tribute to art, but it's also an affirmation of different thinking. After all, artists are always synonymous with whimsy. Five years back in time, whimsy was a derogatory term, and now it has become a positive word, even like a way of affirming the fun of others. Because living in a world full of rules and regulations, spending time to think of ideas will be discouraged, and there is no benefit. If there are still people who are willing to think whimsically, and are willing to make the process of exploration into a movie and trigger everyone's collective thinking, then we should respect such works even more.
Schopenhauer said in On Reading and Books that bad things are too much to read less, and good works are too little to read no matter how much they are. The same applies to movies. I'd rather watch boring movies to think than watch eye-catching movies haha laugh.