광기와 부조리의 영화적 구현 — <강변의 착오(河邊的錯誤)> 고찰

초록

Director Wei Shujun’s Only the River Flows, a film adaptation of YuHua’s novel with the same title published in 1988, is invited to the Busan International Film Festival and Cannes International Film Festival in 2023 and follows the inner side of the protagonist who tracks a serial murder case by a river. It does not follow the grammar of criminal investigations that investigates cases and identifies the culprit. What the movie pays attention to is not the process of identifying the killer through investigations, but the manifestation of what happens within a human being who tracks cases. Recognition of irrational and irrational things happening in a world designed on the premise of reason and rationality is no different from the moment when the absurdity is awakened. The device of fate that the movie has brought is a metaphor for such a situation, and follows a detective who tracks a murder case that is pushed into an unknown situation while highlighting a helpless human being in front of an irreversible and mysterious fate. Events whose motives are unclear and situations in which reality and fantasy cannot be distinguished are difficult to interpret as logic and reason, and it is difficult to give them a reasonable meaning. The unfamiliarity and anxiety that occur when it is not possible to specify what the problem is are the “motions that dominate this film” . The structure and metaphor of fate of the “film in the film” taken by the work reveals the absurdity of human existence by showing the ambiguity and lethargy of an individual thrown into a situation of uncertainty and incomprehension, while at the same time revealing the absurdity of human existence by overlapping even the “crazy person” designated as the suspect.

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