Love and freedom in our generation

2022-05-19 0 By

In this film, which starts from the relationship between the sexes, how far each audience can walk in the image and which direction is far beyond the control of the director.The audience’s own experience and cognition determine which interpretation path they will take when facing this highly open film.This article was first published in Southern People weekly/Yu Qing editor/Yang Jingru rwzkyjr@163.com female, around 30 years old, unmarried, still in the arbitrary life.Studied medicine, psychology, photography…Moving in and out of different fields, being curious about everything and just being able to do it right, being able to do it well for a short time in any direction if you’re willing to put in the effort, but it doesn’t seem to stick;Boyfriends change from one to another, but they are always serious. However, they are always unable to overcome the time wasting and attraction of new love. They also make a quick decision to abandon the old love and run to new love.Nordic director Joachim Till made a film called the Worst Person in the World, and the worst person in the film is Yulia.As the last film in the director’s “Oslo trilogy”, this film continues the usual cold tone, still set in the streets of the Oslo Peninsula, tells a warmer and cleaner Nordic woman’s story of self-exploration.Perhaps influenced by its title, the film has been interpreted by many as satirical and critical in the domestic context.”The freedom you want is nothing but irresponsibility.”There are film critics so evaluation film heroine.By traditional standards of success, Yulia’s freewill is undoubtedly a lack of quality.It is easier to appreciate the qualities of the classical era, words that seem to glow with humanity just by being spoken, loyalty, single-mindedness, constancy.But when these beautiful and noble qualities become determiners to judge whether good or bad is superior or not, they actually constitute another kind of discourse hegemony, a kind of narrowness under the guise of noble morality.But times have changed.Although the heroine’s freedom of choice is more like a privilege, it does not prevent her from becoming a generational typical of the life and dilemma of a certain type of personality in the highly developed modern society.In fact, for the first ten minutes of the film, IT was as if I could see another version of myself in the world.In the endless flow of desire to pursue, even knowing that what you have right now may be unique and can never be duplicated or surpassed, or desperate to “pause the world” to run towards a living experience.Pause the world, and this is one of my favorite shots in the whole movie:Yulia press the kitchen light switch, the instantaneous pause, boyfriend, no longer blinking from dumping out of coffee in the coffee pot hanging in the air, the traffic lights are no longer flashing, pedestrians raised his foot down, no longer only yulia, ran through the streets of each stagnation, ran to the other men only have two sides, and then a kiss.In a stagnant world, only unrealized desires make people feel alive.Mr. Till never intended to make the story a target or a yardstick for moral judgment.In an interview with foreign media, he confessed that his creative intention was to make “a film with a sense of freedom”, which was planted several years ago.In His early works “Reprise” (2006) and “Oslo, August 31” (2011), This “sense of freedom” is conveyed by photographing the behavior and daily life of people around him. However, He has always tried to present a larger motif, presenting a freedom that is more chaotic, messy and closer to the complex state of human nature.Over the years, Mr. Till developed a desire to explore the love stories of the current generation of young people. He wanted, in his words, to make a generational love narrative.How do young people in their thirties, or more specifically, a man in his forties, and a woman in her early thirties think differently about time, about life?Mr. Till likened making “The Worst Person in the World” to the process of “creating a cinema of intimacy.”Instead of moral evaluation of characters, how to penetrate into their struggling inner world with images and then show their ambiguous and complex psychological process on the screen is what he is really curious and focused on, and is also his real goal.Born in 1974, Tyr, who was nearly 50 years old, and yulia, the protagonist, are different in age, gender and generation. But in the creation process, he needs to immerse himself in the spiritual world of a woman in her early thirties as much as possible, and find the “Yulia” in his heart.Thiel’s experiment of image exploration gives two completely different methodologies on how to get into the psychological world of characters.One is realistic, focusing the lens on the most ordinary daily and details, such as the bookshelf where Yulia and her cartoonist boyfriend Axel decide to live together, and the discussion and quarrel about fertility and marriage when attending friends’ parties…And another, it is totally surreal images, absurd, irrational, no order, if the world to turn off the lights to suspend the plot is rooted in the real world, so yulia at a party at a friend’s house to devour the psychedelic mushrooms after a series of illusion, is completely magical image language, full of postmodern bizarre and collage – naked yulia falling unconscious deep canyons.In black Fantasy, her father, ex-boyfriend, current boyfriend, etc., turn up around her, reaching out to her naked body, which is rapidly aging, bloated, and wrinkled.Death and desire, this series of pictures is the response to the Freudian psychological structure, also undoubtedly revealed the shadow of the new wave.Mr. Till is not a director willing to play it safe in traditional cinematography, and before that he had made more experimental work, almost for experimentation’s sake.In his creative concept, film practitioners should try their best to explore the boundaries of film techniques and make the images more playful, just as Proust, Faulkner and Joyce tried to break through the boundaries of traditional literature.Compared with his more avant-garde and obscure predecessors like Oslo, August 31, “The Worst People in the World” is already very audient-friendly, at least in the shell of a love story that audiences love.In a way, Mr. Till’s roster of projects tracks the usual path for young and middle-aged directors — starting with pioneering niche film experiments, then working their way through different genres of commercial and superhero movies, before slowly finding a balance with his own distinctive style.But in this film about relationships, how far each viewer can walk in the image, and in which direction, is beyond the director’s control.The audience’s own experience and cognition determine which interpretation path they will take when facing this highly open film.Moral judgment is one of them, but it seems to me to be the laziest and most arrogant path.To be sure, the film’s range of resonance is by no means limited to Scandinavians or women.By the end of the film, the “worst man in the world” is single, childless, a professional photographer with a room of his own.The window lattice is covered with green leaves, the sun is shining and everything is quiet, and Yulia is working on a photograph of her ex-boyfriend’s current actress wife, smiling away without him.Woolf seemed to resonate here.As the director puts it, those who decide to make films must transcend their individual identities in order to convey a broader story about “people”.It seemed to me that Yulia was free at last, alone, in a room of her own.