Lars von Trier’s Melancholia (2011) stages an interesting reversal of this classic formula of an object-Thing (an asteroid, alien) that serves as the enabling obstacle to the creation of the couple. At the film’s end, the Thing (a planet on a collision course with Earth) does not withdraw, as in Super 8; it hits the Earth, destroying all life, and the film is about the different ways the main characters deal with the impending catastrophe (with responses ranging from suicide to cynical acceptance). The planet is thus the Thing-das Ding at its purest, as Heidegger would have it: the Real Thing which dissolves any symbolic frame – we see it, it is our death, we cannot do anything. The film begins with an introductory sequence, shot in slow motion, involving the main characters and images from space, which introduces the visual motifs. A shot from the vantage point of space shows a gi
昨晚看了电影《忧郁症》,导演大概想借此片告诉我们,生命是邪恶的,宇宙里除了地球,其他地方没有生命存在,每个生命个体从根本上来说又是孤独、无助的,所以他要用一颗叫“忧郁之星”的蓝色星球撞上地球,让地球上的人都和忧郁症患者一样恐慌、焦虑和不安,等待世界末日的来临。
在导演眼里,一切都没有,“nothing”,才是宇宙中的真谛。一切归于虚无,整个世界才会和平、安宁。
导演真是非常消极、悲观和厌世。
“忧郁症”屌丝都不容易得抑郁症
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