It takes about 2, words to get a review of the French film Blue, White and Red Trilogy ... Thank you prawns ... urgently. ...

Khiesz Lovsky claims to be a "professional pessimist". His pessimism lies in his profound doubt and reflection, while his specialty is that his doubt and reflection are the eternal confusion of the human spiritual world. "Three Colors" discusses the freedom, equality and fraternity symbolized by the three colors. The director does not start from the political and social perspectives, but focuses on the subtle feelings of individual life in modern society. Sadness or joy, humiliation or dignity, and the posture of bowing his head and looking across the window with tears in his eyes are all subtle feelings that each of us has experienced or may experience.

Blue symbolizes freedom. Julie lost her family and her obligations at the same time. She has a good life, no responsibility and unlimited possibilities of fresh love. Of course, such Julie is completely free, but Khiesz Lovsky shows us the bondage that comes with this freedom. What he discusses is not freedom, but the lack of freedom: Julie is trapped by her past feelings and memories, and all she does is do nothing. She refuses to go to the cemetery, look at old photos, throw away the music left by her dead husband, refuse to know the news about her dead husband, and even refuse to cry. Her mother-in-law hugged her and cried so hard. Julie asked her why she was crying like this, and she said, because you don't cry.

"In a sense, Julie is in a static situation. She keeps waiting, waiting for something to change. She is extremely fragile-because she decided to do so-so in a sense, the film has to follow her, follow her lifestyle and her behavior. "

White stands for another beautiful and magical word: equality. In this film, Khiesz Lovsky tells a story about the inequality of individual status in love, but it is to question the necessity of equality for pure emotional relationship. As Chihuahua's advertising slogan is extremely arrogant but extremely true, people are born unequal. It's another frightening fact that I dare not face up to. Carol was abandoned by his wife because of sexual impotence, and his love for his wife made him humiliated. When he accidentally made a fortune, not only his sexual ability was restored, but also his wife's love followed. Love seems to be based on the balance between wealth and physiological conditions. Once it is out of balance, love will become a heavy disaster.

the red theme is fraternity. Valentine, like the legendary angel, is beautiful and kind, and he is bent on thinking of others. However, "she always thinks of others from her own point of view." A car accident made her meet an eccentric old judge who had been sitting in the house eavesdropping on the phone. The extreme behavior view of the old judge is undoubtedly a shock to the principle of love that Valentine has always adhered to in his life. Philosophers are a little concerned, and so is Khiesz Lovsky. He is troubled by a question: "There is something beautiful in the fact that we have something to give ourselves, but if we give it to give ourselves a better evaluation, then this beauty will be flawed. Is this beauty pure? Or is it a bit destroyed? " Valentine is undoubtedly the embodiment of this beauty full of contradictions and uncertainties, and she has concentrated Khiesz Lovsky's doubts and hopes. Finally, Valentine gradually understood the old judge, and the old judge was inspired by his love and decided to report himself.

Freedom, equality and fraternity are the ideologies of modern liberal society. Liu Xiaofeng, a philosopher, said that Khiesz Lovsky "looks at the damaged personal moral feelings in modern society with his eyes loyal to individual destiny", and his narrative thought "closely focuses on the relationship between the occasional existence of individual life and morality, which is the basic problem of modernity". However, the film's discussion of this issue starts from the opposite of these three. It can be said that what he is discussing is the lack of these three attractive words in real life and the possibility of their existence.

light and shadow are always like water. Julie always hides in the blue swimming pool when she is injured, letting the water drown her body and soul. I can't abandon my memory. So you can't be free.

Because the music keeps ringing, the music keeps ringing, and the memory is reborn. The picture becomes silent and dark in an instant, and time stands still. Only the music kept playing, and finally it became a grand chorus. Everyone lived their lives in the flow of notes, smiling or missing, making love or dying quietly. Everyone's life became a part of Julie's life, and Julie's tears could finally flow quietly. Nothing Julie did before can reach freedom, and it is impossible to live with her inner voice. All you can do is to live with life itself. Is love a prison or freedom? This is the question that Khiesz Lovsky asked us in the solemn and great music at the end of the film.

In White, Khiesz Lovsky tells a story about equality, but equality is not the real theme. It is a story about achieving equality and revenge. He believes that we should pursue equality, but we should understand that it will never be fully realized. Goethe said that personality determines fate, and what does personality decide? A person's living environment since childhood and his life situation. How can these be equal as products on an assembly line? Everyone is probably born with their own destiny: their physiology is different and their living environment is different. Just as the original computer was installed with different operating systems, the bodies that should have no difference were inserted into different souls by social ethics. What's more, under the influence of political and economic factors, fragile emotions are more like a boat in the storm, which may be overturned at any time. In White, the dignity of the individual in love has nothing to do with love at all, but something other than love, such as sexual ability and money. The sense of humiliation born of inequality is the true face of love. Unequal love, or the inequality of love, is the eternal equality-for all people, all love. What Khiesz Lovsky wants to say is not the importance of equality, but that inequality cannot be changed.

Khiesz Lovsky said that the real theme of Red is, "Do people sometimes live in the wrong era?" "Is it possible for us to correct the mistakes made by God?" What is appropriate for others, to let him fall into the abyss of death according to his own will, or to save him at the expense of giving up his choice and succumbing to the will of others? No one can be that God, who can think and make choices for others. Is it a blasphemy to change others from the standpoint of justice that the public thinks? Khiesz Lovsky's pessimism stopped here for a while, and he gave Red a hopeful ending, expressing his firm belief in human nature in addition to his deep thinking and doubts about the human spiritual world.

"In countless actions such as dialing, inserting, pressing and the like, the invention of the photographer pressing the shutter is particularly fruitful. Touching the shutter with your finger can permanently fix an event. The camera gives an instant a retrospective shock. This tactile experience is combined with visual experience, just like newspaper advertisements or traffic in big cities. Walking through it will bring a series of panic and collision to individuals. At a dangerous intersection, a series of nerves will rush through the body like a current shock. Baudelaire said that a person plunged into the crowd is like plunging into a battery. Soon, in order to describe the experience of trembling, he called this person "a kaleidoskop equipped with consciousness". Dangpo (Ellen? While the "passers-by" on the slope still look around aimlessly, today's pedestrians have to do so in order to follow the traffic instructions. Therefore, technology forces people's sensory center to submit to a complex training. I don't know when the film was born because of an urgent need for new excitement. In movies, the trembling perception has become an effective formal principle. The kind of thing that determines the production rhythm on the conveyor belt of assembly line is the basis for the official film to stand on. "

Benjamin's words can help us better understand the aesthetic characteristics of Khiesz Lovsky's seemingly dull films. In Khiesz Lovsky's films, the main narrative is not the story, but the "shocking perception" caused by the collision between the inner world of the characters and the outside world. This is particularly outstanding in Blue.

The blue light shines on Julie's face, and there is a kind of nerve-racking melancholy. Baudelaire said that melancholy is beauty. The blue light shines on Julie's face, just like the light of lollipop paper flying in the hands of a little girl before her death shines in the wind. Shen Congwen said cruelty is a kind of beauty. The cruel light of this beauty turned into a heavy shadow, which made Julie unable to get away from the past. The blue light that appears many times in movies often shines on Julie's face suddenly. This abrupt shaking light symbolizes Julie's inner emotional trembling. Freedom. Where is freedom? Freedom, freedom is synonymous with nothing to lose.

In addition, the reflection of glass and glass becomes an important metaphor in Tri-color. Countless glasses, glass-to-glass reflections, this fragile and strong transparent and insurmountable substance is just like the distance between everyone's heart and others in the film. The characteristic of glass, which is a mixture of fragility and hardness, properly reveals the sensitive and contradictory hearts of the characters. The perfect combination of metaphorical expression of characters' inner feelings and technical techniques ensures the "trembling" degree of "trembling perception" and gives the audience a spiritual impact.

"The three films are all about people who have some sense or feeling, and some attractive people." In fact, many of Khiesz Lovsky's films are based on this perception or feeling, and the "trembling perception" can be said to be the value of the whole Khiesz Lovsky film. This strange perception is not only the performance content of the film, but also the basis for the induction and transmission of emotions between the film and its audience. For example, in The Double Life of Veronica, Veronica in the mirror reflected and refracted by the glass on the mirror, window, door and car coexists with Veronica in reality, and the characters in the film are dominated by a strange telepathy, while the light and shadow refute each other. In the golden warm tone, the most secret part of our hearts is also surrounded by a familiar and strange sadness and warmth, and that fresh and tender trembling feeling.

This kind of "trembling perception" exists in the hearts of movie characters as well as between the audience and movie characters, which becomes the final key to finish its expression in Khiesz Lovsky's movies. That is, Khiesz Lovsky selected the smallest and most sensitive emotional sample that exists in each of our lives and thoughts. When we are moved by the characters in the movie, that is, when we feel the thrill of * * *, we are actually moved by ourselves. Because of this, Liu Xiaofeng described that he felt "lonely in the world" when Lovsky died in Khiesz. Khiesz Lovsky is just like an indispensable life companion in our ideological world. His films stick to the lonely soul of each of us in this world, and the light and shadow make us feel a little tiny but scorching warmth reaching the depths of our souls. Undoubtedly, Tri-color is the outstanding representative of humanistic care in his many works.