Don't finish me: from Eva to Human Surrender.
If you've become more afraid of people saying, "I know you," this article is probably for you.
The most suffocating, not necessarily nobody understands you.
Sometimes the opposite.
It's people who understand you too fast.
You haven't figured it out yet. He's done it for you.
You're just quiet. He's already said you're running away.
You can't tell. He's very gentle and asks, "Do you want me to tell you?
It doesn't sound bad.
Even very thoughtful.
But people are most easily taken away in this kind of manner.
So I'd like to put this at the top
Don't finish me.
That's not "leave me."
It's not "no one understands me."
Not to mention a pretty lonely gesture.
What it opposes is a more hidden thing: when a man is broken, he hesitates, he cannot speak, he cannot explain himself, the world immediately wants to make him a complete person. Explain to him, sum up for him, tell him what you really think, tell him what you really need, tell him what kind of narrative your pain is, and tell him where it should lead.
It doesn't necessarily look like violence.
Many times it looks like understanding.
Looks like caring.
It looks like "I know you."
It looks like, "Do you need me to say it?"
That's why we're talking about Eva today, not just nostalgia.
We cannot talk only about machine armour, apostles, the Red Sea, and the flow of consciousness.
Nor can it be satisfied that "youth in East Asia are suffering".
This sentence is too convenient to be of little risk.
The real danger is
When a man cannot be fully himself, what does the time take care of him?
On the left, the fear of the Eva was to wake up and find itself in the system; on the right, Human Surrender put the title, face and darkness in the same picture. One put people in the organization, one put them under pressure.
The answer to the Eva is loud: cockpit, synchronous rate, organizational order, father's eyes, human completion plan.
The answer to "Human Surrender" is even more glamorous: light slots, rehearsals, cameras, viewers, white cloths, backstages, lists, thanks, reflections and archives.
It didn't push you into a huge machine.
It's tougher.
It makes you realize that the machine has been scattered in life.
On the left, Eva connects people to the cockpit; on the right, Human Surrender does not have a cockpit, with only low angle light, people and waiting. The machine no longer stands in front of it, it becomes air from the scene.
It's not lonely that scares me, it's alone that someone cured you.
Now look back at Eva, it's never like driving robots.
What really hurts is that a teenager is not ready to become a human being, and the world has put the world in his hands.
He doesn't want to go in.
But he doesn't go in there, like he doesn't even have the right to exist.
He went in and was used by the machine.
He fled and was thrown back by the world.
This is where the Eva has never been obsolete.
It magnifies the problem in a young room, which suddenly becomes a human problem
If people are always separated from each other, they can never really understand each other, they can never be misunderstood, hurt, run away, ever want to be near and afraid of being close.
So why don't we just cancel the border?
This is the temptation of terror to "finish".
It looks like healing loneliness.
In fact, it swallows loneliness with a larger whole.
The distance between man and man is so painful that it disappears.
Everyone's own borders are too painful, so they disappear.
I can't be full. I'm in too much pain.
This is where the deepest violence is: it is not killing, it is solving the human dilemma.
It says: "There is no need for you to be alone."
The price is: You don't have to be you anymore.
It's too much of a relationship today.
Someone didn't really want to hurt you.
He just wants to help you end your pain.
I want you to be clear.
I want you to be better.
Sometimes a person does not really need to be cured, but not taken away.
Eva's cockpit hasn't disappeared. It's become "continue" every time.
Human Surrender did not film this terror as a red ocean, nor did it give it the shell of the end of the world.
It's colder and closer.
It disassembles the machine and hides it in everyday.
It's not lateral lifting it up. P4 In an early public text on Human Surrender, there is a very strong judgement: the film is like the last road. At the stage of The Last Rehearsal, it was described not as a drama, not as a film, but as "a thing".
This change is crucial.
It shows that Human Surrender was not from the beginning a work that only wanted to be included in the film category. It needs a film because it preserves light, body, sound, time and viewers, but it continues to spill out from the film into rehearsals, public performances, public text, post-activation echoes, 10-year archives and relationships that continue to be re-examined.
So we can't just ask, "What story does it tell?"
And even more to the question: What was it made of? How does it allow a person to be treated together by light, location, audience, sound, materials and archives?
A man doesn't go into a movie with his whole heart. Instead, the film is ready: how the light falls, where the body stands, where the camera looks, who is called out, who is left behind and who is seen by the audience.
Here, human beings do not come naturally from within.
Man is visible in conditions.
This is where Human Surrender goes deeper than the post-epidemic EVA. It didn't move the huge EVA machine into the Chinese language, but it saw: by now, the machine doesn't have to appear as a machine.
It could be a rehearsal.
It could be a rush.
Could be an open camera.
Could be the silence of the audience.
It could be a tail list.
It can be a very reasonable continuation
Keep talking.
Keep playing.
Continue to explain.
Keep looking.
Continue to be saved.
This is where our generation is more close.
We don't have to be pushed into the cockpit, but we've been put in various positions long ago. Positions, relationships, platforms, cameras, chat records, discs, files, screenshots, archives, public evaluations have all been reserved for us.
Many times you don't choose to get into the scene.
You woke up and found the scene running around you.
Eva pulled the real audience into the movie; Human Surrender put the theater, face and subtitles together. Watching is not bystand, watching itself is already in the machine.
Failure can be exploited: you've collapsed and the scene is still on.
Ordinary movies cut off failure.
Human Surrender, in turn.
It retains failure.
Can't, hold on.
Hold on, hold on.
I can't, hold on.
Silence, hold.
Stay still, hold on.
Of course it's precious.
Because what really happens, it's not easy. A person can speak out, hide, make excuses, suddenly want to smoke, say a word unwieldy and use his body to delay the language.
The hate of Human Surrender is also here: it does not automatically gain freedom after failure has been preserved.
Failure becomes the next layer of material.
I can't say a word, body takes over.
The body can't carry it, the material takes over.
The material's overheated, the sound's on.
Sound down, backstage.
Backstage's still ringing, file's in.
It's not chaos.
This is where it's sharpest.
It knows that each failure is not the end, but the entrance.
The question is: If one thing can always continue, and if each failure can be converted into new material, when can a person really stop?
This is where Human Surrender is more worthy of serious consideration than "cruel art".
It's not just a demand.
It's also slowly pushing the question behind it: is the film able to stop when it's too good to continue, too good to keep, too good to make sense of failure?
Intimacy isn't about perfecting each other, it's about not using me as a mirror.
Many will see Human Surrender as a breakdown of intimacy.
That is true, but not enough.
It is deeper: it is not "I love you but you don't understand me", but "I try to confirm at your place that I exist, but none of your eyes, voices, bodies, responses can fully sign me".
There's a very light one, but it's very deadly.
A man repeats himself.
But he said, "Are you there?"
The other side replied: I'm here.
It's not an ordinary dependency, it's not a simple sting. It captures the most vulnerable structures of "independence"
I want to be alone.
But I need to make sure you're not completely gone.
I want to prove that I can live alone.
But it still needs a hearer.
A man can, if that "you" is somewhere.
Thus, Human Surrender is not singing broken words, nor is it saying that people should haunt each other forever. It is simply a very honest shot of a human "one person", which is often not irrelevant, but rather a small piece of breathing within the relationship.
Even more brutal is the eyes.
People look for themselves in each other's eyes.
Usually we think that intimate is seeing ourselves in each other's eyes. But in Human Surrender, eyes are no longer mirrors. The closer you get, the less you get back to me. The body didn't disappear, the face didn't disappear, the hand did not disappear, the sound did not disappear; but the "I" that can be identified in the eyes of the other person disappeared.
It's not "no one understands me."
This is the back-up system.
You can't take someone else as a mirror to get you back.
And you can't take your understanding as proof that others are finally complete.
So "Don't finish me" here becomes a deeper phrase
Do not turn your eyes into my refuge.
Don't turn your understanding into my boundaries.
Don't think you can give me back to yourself because you saw me.
If you're stupid, you can cut it.
And when we get to the open, the most sharp set of sentences in the movie actually appears.
Some say they didn't think of anything, they just don't think.
At the scene, I asked, "What do you see if you're still here?"
This sentence cannot be used as a full key in advance. It must be put in the front, rehearsed, intimate, sensory and failed to come back before it is truly terrible.
Because it's not a funny word.
It was an open machine that finally revealed its own rules
You don't have content, you can be content.
You have no expression, you can be the object of expression.
You're saying you're just in a coma, and you're going to make it look good.
That is the fear that many people are familiar with today.
You're silent, people will explain you.
If you don't respond, someone will intercept your response.
You don't have a status, someone's gonna give you no status name.
You said, "I didn't think of anything," and the system would ask, "Why didn't you? What do you see when you don't think?
Putting that sentence today is almost a platform logic.
You don't have a state, you'll be in a state.
And what's more sharp is another sentence: Do you want me to say it?
This sentence is dangerous, not because it must be malicious.
On the contrary, the danger is that it may really be concerned.
Some people can't say it, others will. This, of course, may be a form of care, a form of detention, an effort not to let people fall.
But in the same move, there's a hidden takeover.
When one person's blanks are taken away by another voice, when "I" is told by another mouth, when white cloth covers his face and his voice becomes more secret, when a short "speak" opens a whole generation and says that it is difficult for us to simply classify it as help or violence.
It's more like the most real kind of ambiguity of modern life
Care and possession are often shared.
Understanding and substitution are often the same mouth.
So it's not really Human Surrender's "no talking", it's too rough.
What it asks is that, after that, it still admits that the void does not belong to you.
A person can be held in custody but cannot be signed.
A word "said" would allow the process to continue for the time being, but not be upgraded to "You have fully authorized me to be you".
Space can be saved.
Can't be occupied.
The white cloth can't stop the view. It only makes it more visible.
When the white cloth appeared, a lot of things were lost.
Face back into pieces.
The body becomes wrinkled, drumming, covering, translucent surfaces.
We seem to have entered an invisible category.
But the film immediately showed us that the invisible is not gone.
The camera's still there.
The audience's still there.
The subtitles are still here.
The sound is still there.
The file will remain.
So "no one can see you" is not a fact. It's more like a security fantasy, being told in the most insecure conditions of view.
This is also the most familiar paradox of modern times.
We want to hide out of sight and exit from work, relationships, platforms, interpretations, evaluations. However, many invisibilitys are themselves recorded: offline status, unreading news, long silence, no update, no response, no presence.
Even disappearance can become a readable data.
Human Surrender didn't capture "people can't be seen".
It's got a more painful layer
When people are seen overload, they want to be invisible.
Invisibility can also be created, named and preserved.
So we finally got to the phrase in the title.
Don't finish me.
Not because I don't need anyone else.
It's because I need a way not to take me away.
I need you to see me, but not to turn seeing into possession.
I need you to hear me, but you don't want to end this for me.
I need you here, but not to turn it into occupation.
The last knife in the tail: the movie finally stopped.
The most restrained place in Human Surrender is not where it pushes the scene to the heaviest point.
Instead, it finally knows that it cannot continue to demand from the living.
The tail is certainly in the archives.
Name appears.
Functions arise.
The production team showed up.
The shooting site appears.
Special thanks appear.
The audience is also grateful.
It's all important. Because what has happened must be preserved, those who have been involved cannot be erased or seen or pretend to be outside the scene.
At the same time, it was admitted that the list could not be taken back to the scene in its entirety.
Name's not home.
Thanks are not pardons.
Audience entry is not an explanation of sovereignty for the audience.
Archives are not the way to own.
Finally, the sound retreats, leaving only signs and weak words in the dark. The film did not allow the characters to continue, the director to continue explaining, and the audience to continue demanding new expressions.
It stopped.
Many of the works push themselves to the full.
Let the character say again, let the audience cry again, let the creator explain another round.
The real rare thing about Human Surrender is that it was finally captured, even though it had the capacity to continue.
Because the whole movie was so good.
It will continue to film, continue to ask, continue to allow failed materials to be generated, continue to push blanks to sound, and continue to allow on-site conversion of carriers. It's too powerful. It is also because of its power that the end stop has ethical weight.
It's not about smashing the machine.
The real opposite is to admit that it cannot continue to occupy it while it remains capable of doing so.
This is the deepest fork between Human Surrender and Eva.
Eva filmed it as the end of the temptation to remove the border.
"Human Surrender" makes the stop-and-deposit final ethics.
One said, "If people suffer too much, melt all borders."
On the left, Eva demarches the boundary into the Red Sea; on the right, Human Surrender pulls back the same danger to the surface, the room and the real body. One is the end of the day, and the other is the living scene.
One said, "Man is in too much pain, so he cannot be taken with understanding, sight, archives and love.
So to surrender is to stop talking about the whole thing.
Therefore, the name "Human Surrender" cannot be interpreted literally as a loss.
It really surrenders, not an enemy.
It surrendered to a fact
People do not have their own existence.
You appear in the light, and you enter the eyes of others.
If you're saved by a camera, you'll go to the eyes of the future.
The sentence you say will be received, misreceived, transcribed, intercepted, archived.
You've loved, you've hurt, you've played, you've been silent, you've lost your mind, but they don't belong to you.
But the reverse is true.
You don't own what happens to people.
You can't go near it.
You can witness, not finish for him.
You can save it. You can't mistake it for possession.
This is the deepest gesture of surrender
I admit I can't have my full presence.
I also admit I can't have your full appearance.
I don't pretend to be finished.
I will no longer replace you with love, theory, watching, recording or understanding.
For those who remember the Eva: the cockpit is scattered.
If you remember Eva.
If you remember the shame, fear and loneliness of the teenager when he was pushed into the cockpit.
If you remember the temptation to finish the program, "no more bordering."
So Human Surrender is not saying goodbye to Eva.
It only makes you see that our cockpit has changed.
It could be a relationship.
Could be a rehearsal.
Could be an open camera.
Maybe it's a "I'm listening."
Maybe it's a line: "Do you want me to say it for you?"
It's probably an article trying to explain the movie.
It may be a very serious, very kind and very dangerous understanding.
So the words in the title are not rejection of the world.
It is a harder and more precious border for the world
Don't finish me.
Don't make my silence your deep.
Don't turn my pain into your ability to understand.
Don't turn my failure into fuel for your work.
Don't turn my space into your first name.
You can see me.
You can come near me.
You can remember I did happen.
But stop at the most critical point.
Let me really happen.
And let me not be taken away by you.
I'm not saying people shouldn't be close.
I mean, intimacy doesn't make it your home.
I'm not saying people shouldn't watch.
I mean, watching can't pretend you don't have a hand.
Preservation is not a problem.
The question is, after saving it, can you remember one sentence
It happened, but it didn't belong to us.
Don't finish me.
Let me stay here incompletely.
Human Surrender file
This is a recruitment case for Human Surrender.
The Last Rehearsal, the The Last Rehearsal of Human Surrender
Art, the beginning of Human Surrender -- will aliens come again?
This is the last rehearsal! It's true!
Human Surrender, make me a whale. I have too little.
Human Surrender A Zoo and then you become a little girl...
Human Surrender R | "First Experiment in Beijing"
Human Surrender D. Zoo, one more time.
Human Surrender K. Twirlings.
Human Surrender S. Zoo, everything is new.
The Last Rehearsal of Love, Death, Human Surrender
Human Surrender disappeared from me - after the The Last Rehearsal.
No longer loyal to integrity - the final edition of Human Surrender Long Commentary
How words betray people - the original language structure of Human Surrender
"Human Surrender" as "the oracular work"
Why must the man with the camera surrender?
Closeness doesn't belong to two people.
Illustrated to you by the second person in the "Human Surrender"/Shoot Self with You