Film Review of Dream in the Desert

China Korean director Zhang Lu's third feature film Dream in the Desert, formerly known as "Hyazgar" in Mongolian, means "the world" ~ The director pointed out in the interview that the "boundary" here can refer to the boundary between countries and the spiritual boundary between people ~ Although the film mentioned North Korean refugees, desertification in northern China and border relations between China and Mongolia, it should be able to create a lot of sensitive topics in the article.

The whole film "Dream of the Desert" is mainly shot in the desert area of Mongolia, and the natural scenery has almost become one of the protagonists ~ The whole film is mostly shot with a telephoto lens, which makes the characters in the film blend into the scenery and often obtains some beautiful compositions, while capturing some abbas kiarostami-style desolate beauty (especially those winding dirt roads) ~

Those saplings planted on the ground but never thriving in the film can also be regarded as the reflection of the inner world of the characters in the film: Hangai (Bat-ulzii) saw his home covered with yellow sand, Soon-hee (Seo Jung) and Chan-ho (Shin Dong-ho) fled to strange places, and they were all like rootless and homeless orphans ~ although they met by chance.

The shooting methods of most shots in the whole movie are basically similar: First, the fixed shot is fixed in the middle and long distance of 10 second, so that many characters can freely enter and leave the picture, but even if the people in the film walk out of the picture, the camera will not move immediately (the audience can only guess what is invisible in the picture from the sound), and it is often necessary to wait for a few seconds after all the characters leave. Only a leisurely pan shot reveals the progress of the plot, and then it develops into another static fixed mirror image ~ This almost formal shooting technique, although sometimes dull and artificial, undoubtedly succeeded in maintaining the slow pace of watching life, and at the same time let the desolate natural scenery behind it seep out for a while ~

In this film, which failed in verbal communication, music has become a tool for communication between people beyond language (the intimate relationship between men and women can also be regarded as another way of communication, but it is often just the man's wishful thinking ...) ~ Mongolian throat and folk songs sung by Mongolian soldiers and Korean short songs hummed by Chang Hao can temporarily eliminate the boundaries in people's hearts and make people from different backgrounds care about each other ~

At the end of the film, it tells the story of Shunxi and his son wandering around the world again ~ Facing a vast road, the camera took a 360-degree camera shot, but when I looked back, I saw a railing covered with a blue scarf to give my blessing ~ This camera shot is like the strange behavior of my youngest son Chang Hao, who was circling earlier (he claimed that it would make him dream of studying and going to school at night): Although I can't see a bright future,