Color · Love Institute | The role of not good at words, and the world of not good words: Hou Hsiao-hsien

color. The Institute of Emotion is such a confined space; here the eyes are black and the feet are silent, but it maintains a movie window for the color (appearance) and emotion (memory) of the world. Then write down and record its complete possibilities. For example, cruelty, such as desire, such as fragility, such as happiness, such as suspense, such as life, such as death, such as love, such as love, such as love love love. For example, the eroticism that makes people curious but can't see.

"They don't know how my living room turns from white to black. They don't know how my dad works under the tin house. They don't know that my mother is riding a yellow bicycle for her own children, through heavy rain and cold winter. They don't know Heck. The story of Lux." - Angel Di Maria

There is such a paragraph in "Times of Time". Returning to the hometown, a young man told her that she was pregnant and would bear the responsibility of raising the child independently. The parents who listened to this language did not know how to express their concern. They sat in a corner until the mother could not help but speak.

"Dad, let's talk! Just tell her!"

The father just licked the beer and didn't say a word. No one could understand what the father couldn't say, but even the speechless content did not hinder the continuation of the viewing, because the wine glasses were sweating, time was flowing, father With the mother in the picture, how the other side opened up, the relationship and events of the characters disappeared.

Hou Hsiao-hsien’s film always has such a blank, such as the father who is not good at speaking, only responding with silence, accompanied by the suspension of watching and listening; it is not necessarily a clear view, sometimes just a tree, or A face, let the time ticking over the top, let the viewer know that the wind blows, the water flows, and the personnel live in the work of life and nature. These often unseen landscapes are scattered in the gaps of the event. There is not much information except the interpretation of the background of time and space. It is like a suffix. There is no logical or semantic association. No one knows why it started and where it ends, but Know that there is a description, seeing, listening to, the physical existence of the physical.

In this world that is not good at word language, everything seems to be digressing, allowing the viewer to deviate from the subjective guidance and return to the outside of the dispersion, but if you can find the curiosity that is sent, the story will continue to appear in its appearance. There are traces of memory and occasional fun, inviting to pry into the senses, to be in the moment of the record of photography, with the same feelings, the same understanding, to return to the real complexity.

Every scene that appears there is waiting to be confirmed. Even if it is ordinary, as in the daily life, when the viewer feels involved, the phenomenon collected will be transformed into itself by the positioning and reorganization of the story intention. The "memorial" that I have experienced, with personal memory and understanding, under the effect of time condensing, to understand the connection outside the eyes. This connection may or may not coincide with the author's intentions, but each occurrence of the observation is a testimony to the existence of the self and others, witnessing the joy and joy of opportunity, witnessing the passing of life, staying will continue It’s vivid to go down.

Images via Atmovies.

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