Why did the audience escape from the film Lars von Trier

17 May 2018, 15:19 | Art
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The plot of the film, so deeply traumatized experienced festival audience, narrates about the serial killer. The maniac, embodied by actor Matt Dillon, tells five bloody episodes from his biography, which feature shot children, cut breasts, face smeared on the asphalt, a mountain of frozen corpses and other impressive details. First of all, it makes sense to write that the movie "The House That Jack Built" is an incredibly clever, masterfully filmed movie in the best traditions of the genius director. The article will not be about this. It will be about the human psyche. The ability to empathy - to empathize with another person or living being - is given to us by nature as a necessary condition for survival. People are social beings living in groups. Emotional contact with other members of the group makes it possible to communicate, coordinate their actions to achieve the goal of successful hunting or winning a war with another tribe. This mechanism is much older than speech, it makes us related to herd mammals. Empathy underlies the perception of any art.

For example, in a movie the viewer identifies himself with the hero of the film and empathizes with him, experiences the same feelings and emotions. That is, if the hero is beaten, the part of the body is cut off or killed, the viewer involved may experience shock, fear, horror, anger, disgust. Sensitive people can get a real psychological trauma by simply looking at the screen. A reader familiar with the history of cinema can notice how the expressiveness of these or those scenes in this young form of art has changed. At the dawn of cinematography, the kiss of a man and a woman in the frame was banned as a shocking and indecent spectacle. In the middle of the last century, timid chaste kisses became possible. And what love scenes look like now - the porn industry has moved the limits of what is permissible to unimaginable proportions. The same thing happens with violence. The roots of this colossal expansion of the boundaries of the permissible to show lie outside of art. All the blame for technological progress.

Previously, a person experienced his personal troubles and could empathize with the misfortune of his neighbor in the village. All other unfamiliar adversities were so far away that the mechanisms of empathy were not launched. Now the grief of the whole world for everyone in the smartphone. Requirements for the empathy of a particular person have increased at times. Now he must empathize with the soldiers killed in Syria who are suffocating in the fire for children, adolescents, suicides, tattered Khabarovsk livestock cats. Their suffering in the open access - in texts, photos and video (often, live), and not react to them physically impossible. What to do? Do not watch TV, do not read newspapers and do not have pages in social networks? To become a hermit?.

Traumatic experience can destroy the psyche, and it protects itself by all available means. If you can not isolate from the information space, there is only one way out - adaptation. The thresholds of sensitivity grow, people become stale, it becomes more and more difficult to include empathy. And artists desperately want to launch it, for striking the strings of human souls is their main task. Here they are hitting harder and harder, using heavy artillery. And the Cannes Film Festival has become a testing ground for these crushing blows. Last year, the audience was shocked by the film "Tightness" by Russian director Cantemir Balagov, containing documentary shots of executions of Russian soldiers by Chechen fighters. The spectacle is much more traumatic than the scenes from the current picture of Trier, for a real murder is always more terrible than a production. Even the most naturalistic. But the ill luck - reaching the goal and breaking through the armor of the unfortunate audience, artists can still remain misunderstood. A person drowning in his trauma is often unable to hear the author because his thinking changes. And for the perception of works of art, operations are needed to analyze, synthesize and establish associative links that traumatized people work with interruptions. Watching the movie "Tightness" resurrected in my memory a childhood trauma. As a child, I was crying in tears "Mu-mu" Turgenev. All the meanings and contents laid down by the author in the novel, for the sake of which it was included in the school curriculum on literature (the evaluation of serfdom, the description of the arbitrariness of landlords and the suffering of peasants), passed me by. I was very sorry for the dog, and this experience prevented me from perceiving the object of literary art. And after watching "Tesnost" there was nothing left but anger at the author and the festival. For making it look. Although less impressionable colleagues assure that the film is outstanding. So it turns out that any extravagant and rigid reception automatically reduces the audience, capable of perceiving the film. Cinema, like any other art - is an act of communication.

You can communicate in different ways - tell an anecdote, talk in a heart-to-heart manner, yell with a good motherfucker. When the conversation begins with the person striking the table, the continuation of meaningful communication becomes impossible.

There is nothing to talk about anymore.. The interlocutor will either give change, or run away.

That's what the audience did at the premiere of "The House That Jack Built" - they fled, depriving themselves of the chance to see the masterpiece to the end.

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