Rating: A-8.1 (May rewatch it later, take it with a grain of salt, give it four stars.) ）
I have heard the name of the director for a long time, but I didn't have high expectations.
However, the film shows amazing control at the beginning, all the way high-energy, breathtaking, too strong, amazing.
Type breakout
The film is set as a suspense thriller dressed in science fiction, which is essentially a psychological drama, and finally comes to the land of science fiction. In the heterozygosis and butterfly transformation of types, the expectations created by types and conventions are repeatedly broken. Like a knife that gradually inserts into the heart, and a slowly igniting "toy dynamite" is ambushed, under the dual force, the audience is attracted by absolute suspense and then explodes and shakes, until the end of the curtain is still embers.
When I walked out of the cinema and came to the earthly world, the film did change my perspective on the real world - even reversed and reinvented.
Psychological competition and surreal leap
Although part of the setting relies on concept-driven - the director is good at playing with concepts and ideas, his mastery and strong emotional impact are enough to convince people to accept the absurdity and bizarre narrative and the experimental nature of the form.
At the same time, the film does not fall into the stereotype of thriller genres, the empty spectacle of avant-garde science fiction, or the evil taste of cult classics, but uses psychological rhythm as the engine and the relationship between the characters as the battlefield to form a wonderful organism.
The main line of the plot revolves around the relationship between the male and female protagonists, and the tension between them comes entirely from the constantly flowing power relationship between the characters.
In the confrontation, the heroine serves as the narrative axis: her words, performance and will become the strongest weapons, driving the plot to roller coaster ups and downs in the power game with the male protagonist.
The little fat, the police, and others - as third parties and checks and balances, were removed in the middle, returning the duel to the purest binary pattern, strengthening the purity of the drama and the sense of conflict oppression.
Although it is a "science fiction suspense film", it does not require many special effects, let alone the display of large scenes - only a claustrophobic mansion and two or three characters are enough, and the core elements are still the concept and atmosphere.
The film's control of rhythm and emotional mobilization, as well as the shaping of the extreme situation and the characters, are a must. (Of course, this is also due to the outstanding performance of the actors)
The most characteristic expression is that the violent music plummets to the critical point of silence, matching the cutting of the scene, and the shocking effect is full.
For example, in the opening paragraph, the two murderers eat and kidnap the heroine, and the moment the symphony ignites is accompanied by the heroine falling to the ground, and after her trick succeeds, she takes off her mask, and the power ushers in the first reversal.
In another place, the montage shot shuttles between the horror cellar and the hospital scene where the secret is revealed, and the pure and complete image of the male protagonist is evident in this set of tension, and the attachment to his mother and the obsession with aliens merge into a strong and magical religious obsession.
Driven by the tension of the symphony and editing, the film repeatedly twists and turns, true and false, but overall it is still a trick within the expected range.
Until the most unpredictable twist - the heroine escaped from the ambulance, ran all the way back to the office cabinet, and truly traveled to the moment of space fantasy. All previous settings and understandings have been completely denied, and all previous absurd and ridiculous ideas have been affirmed!
The ending is even more incredible: the doomsday judgment has come in silence, Noah's Ark has left, humanity has truly been quietly destroyed, and the earth has won rebirth in an instant.
It also echoes the mystery of the film's title "Bugonia": the word comes from the Greek word bougonia, which literally means "bee in the body of a cow". According to the beliefs of the ancients, bees can be naturally generated from rotting cow carcasses, symbolizing "death gives birth to new life".
The world of science fiction
This film is the complete opposite of "Universe Exploration Editorial Department": it is not a false "human nature" golden light in the real world, nor a return to the clichéd "poetic and warm theme" under the guise of pseudo-science fiction - evoking beautiful emotions in people's hearts. It is the denial of all this, reaching an anti-human and transhuman world vision.
Similarly, "Solaris" creates an impossible escape and wandering journey for us, constantly making people look back and discover the mysteries of their inner world in the unfathomable abyss of space, and fall into the canyon of memory. On the contrary, this film finally turned to a surreal "inhuman" world under the psychological confrontation and the excavation of secrets.
At the same time, after the absolute denial of "pseudo-science fiction", this film has achieved a new leap, even if it is not ushering in the true meaning of "science fiction", it should also reshape the possibility of science fiction themes - at least reshape my perception of science fiction works. It is futile to sublimate from false to true, but transcendence from true to illusory is possible.
A metaphor for absurdity and reality
Like "World War I and War Again", the absurd and frenzied story of this film reflects the cultural turmoil and value chaos of the Western world, and the extreme and crazy characters represent various political symptoms from gender to ideology. The director wisely uses these sharp irony and jokes to present these "serious" issues, but compared to the cynicism and child's play attitude of the PTA's hodgepodge, this film is more subtle and more clever.
As Lula in "My Heart is Wild" says, "This whole world is wild in heart and wierd on top." Because the world itself is grotesque, the audience should be able to better understand surrealism and re-read cognitive reality from it.
It is appropriate to end with Lynch's words: "This is a fact that I can see everywhere - when I look at the world, I see the absurdity of what surrounds me." Everyone is constantly doing weird things, but for most of them, we try to turn a blind eye. ”
