A soft kidnapping from the family drama, eager for a moment of guitar and sound: "Lao Niang's family"

With a few inciting shots, lead the audience's eyes: a middle-aged woman, plain undressed, walked out of an old house, bought a newspaper, looking for a rental house. Uncovering the film's prelude, the stamina is strong; when the movie is over, it can be looked back. It turned out that this time the action of finding a house was the beginning of all revolutions. The story of the film "My Happy Family" is degenerate. It tells the story of Manana, who is the spiritual pillar of her family. On the 52nd birthday, she announced her plan to leave home for a long time without any emotion. Under the care and concern of relatives and friends, Manana always said faintly, "I need my own life", and that's all. No one believes.

 

In this way, the "good mother" in a traditional impression is portrayed. After "a distance from home", the interpersonal structure in the family is more clearly seen. Through the speculation of the purpose of the mother's removal from the mother, the "home" is the most basic. "Interpersonal stress."

 

My Happy Family_still 04

 

Man-made individuals need the private domain of their own self, but they are unconcerned and unnecessarily lonely. Sometimes they must embrace the masses. People and people form a group. Once they enter a group, comparison, stress naturally arises, emotional threats, or a small number of thoughts are often suppressed by the majority, and all kinds of situations are not in the words. Therefore, the lack and complementarity of individuals and groups often pulls and lays the foundation for the conflict between the film "The Old Mother and the Family".

 

"Lao Niang's Family" is based on a more subtle coordinate: "family." Home, regardless of any classification in the East and West, is basically included in the quadrant of the "group", but it exists uniquely - because in an organization like the family, "blood" is connected to each other. Parents come from different families and use "emotion" as the basis for implementing the relationship. Sometimes "law" is involved. Therefore, when individualism emerges, it is often subject to the soft abduction of the group, causing a certain degree of restriction on thinking and action. It is even harder to say that it is detached from the separation, and the full testimony of "cutting the continuation and resolving the chaos".

 

My Happy Family_still 03

 

Georgia can say that the well-directed duo director Nana Ekvtimishvili and Simon Gross have set the revolutionary creators in the film as the backbone of the three generations of the family: "Mother." The role of the mother is usually representative of tolerance in the family structure, seems to be able to withstand more, and is also a relatively strong internal manager than men. Assuming that the mother proposes to keep a distance from the group, the degree of surprise within the group and the feeling of reflection are even stronger.

 

In the play, Manana had to wash clothes for her family, but the design of the house was old. There was only one big wardrobe, which was placed in the room of the daughter and the son-in-law. Every time Manana had to pick up the nursery and get up in the morning. , hurriedly sneaked into the room, so as not to open the switch to close the sound of the wardrobe, still asleep daughter. With a simple arrangement, you can place in-depth metaphors in it, and present the contrast between home, individual, collective and private desires clearly and unpretentiously.

 

My Happy Family_still01

 

When the perspective turns to ourselves, if we look at the space of self-existence from the group, do we have the ability to know what we are missing? What is needed? Can I find reference values ​​from past group experiences? As a result, Manana's withdrawal, but turned back to the opportunity to review. Standing outside a certain distance, Manana actually can't get rid of the ingredients involved in the relative spectator's perspective, and watch the hidden substantive problems in the family; such as the marriage of daughters and daughters, the dispute caused by the inability to succeed in seeking children. The care of the elderly parents, the face problem of the sense of appearance; the understanding of the family role with the husband for many years. All kinds, all kinds, because of the revolution, have gained a calm look, while at the same time squatting.

 

My Happy Family_still 02

 

The sense of record of the hand-held lens runs through the whole movie, and it does not lyrically echo the central idea of ​​the story. All the games are arranged in tandem with exquisite scene scheduling, so that the characters' emotions are coherent, the moderate viewing distance is even, and even the reservation is retained. The time for the audience to save themselves. Especially the heroine's performance is amazing, it is undoubtedly a low-key and avant-garde movie.

 

The tree in front of the floor-to-ceiling window was blown by the wind, and Manana turned out the dusty guitar for a long time, and exchanged the new string bought by the listing. The rustling sound of the wind, in the black box of the theater, caught us and Ma. Nana is a separate individual. At this time, like Manana’s accidental question: "What about you? You know what you are..." You have the courage to live in isolation, and you can't forget to explore yourself inward. You and me will survive after the confusion and clarification on this road. What do you want? Perhaps for Manana, it was just the leisure of the guitar.

 

All Images Courtesy of Taipei Film Festival.

 

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A soft kidnapping from the family drama, eager for a moment of guitar and sound: "Lao Niang's family"

帶著些許躁動的鏡頭,引領觀眾的眼睛:一名中年婦女,樸素的沒有打扮,從一棟老房走出,買了份報,尋找租屋。揭開電影序幕的畫面,後勁強烈;當電影結束,可供回望。原來,這一次找屋的行動,是所有革命的開始。電影《老娘離家記》(My Happy Family)故事結構俐落,講述身為家中精神支柱的瑪娜娜,在 52 歲生日當天不留任何情面地宣告,自己籌劃許久的離家計畫。在親友連番的關心逼問之下,瑪娜娜總是淡淡地表示「我需要自己的生活」,如此而已。沒人相信。   由此,刻畫一個傳統印象中的「好母親」,在「離家一段距離後」,更看清家庭中的人際結構;透過他人對母親搬離目的的臆測,顯現「家」迸發了最基礎的「人際壓力」。     人為個體,需要專屬自我的私領域,卻矛盾地不甘寂寞,偶爾必要擁抱群眾。人和人組成團體,一旦進入團體,比較、壓力自然孕育而生,情感威脅,又或者,少數的思考常受多數壓抑,種種情況也不在話下。因此,個人、團體的欠缺與互補,經常拉扯,奠定了電影《老娘離家記》的基礎衝突。   《老娘離家記》將觀點座落在一個更為幽微的座標上:「家庭」。家,無論在東西方社會任何的分類底下,基本上都是被囊括在「團體」的象限裡,然而卻又獨特地存在著——因為在家庭這樣的組織裡,「血緣」串連的彼此,父母卻又來自不同的家庭,以「情感」為落實關係的依據,有時還將「法律」牽扯其中。所以,當有個人主義冒出頭時,常常會受到團體的軟性綁架,在思維、行動上造成某種程度的限制,更難說脫離就脫離,「剪不斷,理還亂」的十足應證。...
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