Cinemyths

感觉是体现达内方法论弊端的一部，因为先于描述力量的，是去描述纠缠关系。虽然《罗塞塔》中镜头的位置相比于《孩子》准确很多，但其中缺乏崭新的冲击（和母亲的纠缠具备历史性，和社会机制的对抗又太过飘渺，使得针对局势设计的几类对抗关系只是特征复制）导致人物性灵的真实性无从推导。森林基地蕴藏的情绪只有通过空间打开和情境划归才能释放。而这恰恰是达内不愿意去做的，他们在后半段采取了将抗争对象转至具体个体的方法去承接那些（森林中）孤立的动作，但这其实是原始力量被我们所有人所熟知的机构消解（因为那个个体行为是机制的产物）。由此那些被悬置的运动如同固定流体中被虚构，架空出的路径，它们太脆弱，太容易识破。

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Rosseta indicates Dardennes’ talent as a two-sided approach, since in their theory, the entanglement between forces becomes more essential than the forces themselves.  

Although one might declare the vision settled in Rosseta as more precise than in L’Enfant, the later work has formed nascent intimacies arguably lacking in this 1999 Palme d’Or winner, where the surrogate forms of relational buildup appear either too sedimented or too rootless. The textures of many intersubjective relations in Rosseta are, moreover, replicative of the thematic relic of the descending individual set against a problematic society. The archetypal bind consequently banalizes the characters’ particularity, in the sense that their difficulties are often crucial but the solutions are shallow.

Conventionally, the secret emotions cultivated within Rosseta’s living campground can productively radiate outward through the narrative’s intention to open and ensoul its spatial range. But this is plainly incompatible with Dardennes’ realistic measure. Instead, we’ve seen that in the second half of Rosseta, the duel between one and the system is clandestinely transformed into the tension between men, and the latter replenishes the fissures in between the discrete gestures scattered throughout the campground. 

However, as we see the landscape gradually fixed and concrete, we know the limpid remains are derivative of the System whose material logic dispels the inchoate omnipresence of emotion. Accordingly, what the eventual picture generates is much like an inertial path numerically plotted across stern terrain, reasonable, determinate, but dreary.

—— 2022.03.22