Cabrini

"Cabrini" is adapted from real historical events and tells the story of Italian nun Cabrini who came to the United States from Italy in 1889. She built an orphanage in the poor, chaotic and unwelcome environment when Italians first arrived, and later developed it to open and operate a hospital to consolidate Italian culture. She was driven back because she threatened the authorities, and then raised funds to return to the United States.

Although Cabrini is the absolute protagonist, the film is not only about her personal legendary experience, but also about the development of the entire Italian immigrant group. Cabrini is just a typical representative. Secondly, although her profession is a nun, Cabrini is an industrialist. She was able to build an orphanage with care and education functions in the slums from scratch, providing a shelter and a good growth environment for Italian children who lost their parents in the United States. She was also commissioned to build a larger hospital. She is a model for female entrepreneurs or anyone who wants to make a difference in an era where men are the absolute majority.

Therefore, based on the historical extension of the two, the film is very interesting in terms of storytelling. Two details are particularly impressive. The first is that many bigwigs who came to Caprini for help said that she was very ambitious and ambitious, as if she came to the United States to compete with all parties. In fact, Caprini's ambition is inseparable from her observation, judgment and foresight. When she first went to the Pope to apply for an overseas assignment, she mentioned that she wanted to go to the East, to China. It was the Pope who changed it to the United States. At that time, many people did not know about the mysterious ancient country in the East, but Caprini was very courageous and had ideas, which was confirmed by the story that happened later.

If we analyze the driving force behind her behavior, besides her faith, the movie explained her lung cancer early on. The optimistic estimate of survival was five years, but it was shortened to three years after she got sick in the United States. After learning about it, Cabrinelli said that she would seize the time to work instead of resting. So her tenacity, courage, and persistence are all related to knowing that her time is limited. In fact, each of us has limited time. Excluding the growth period in childhood and the aging period in old age, each of us has only a few more five years than Cabrini, and the sense of crisis should not be much lower than hers.

Accompanied by exquisite historical restoration of retro images and classical music, it is far from enough to stay at the level of being moved by what Sister Cabrini did. We must try to answer: Caprini's question: What kind of world do we want and how do we get there?

The nun in black robes, with the dream of saving the world, dragged her seriously ill body and took her companions to the United States to save the Italian immigrants who were treated unfairly there. She started with small things, saving women and children, building schools, teaching children English, raising funds, dealing with local churches and governments, lobbying all parties, being detained and deported, working hard again in Italy, getting funds to return to the United States, establishing a hospital, giving more people job opportunities and welfare, allowing Italians to truly integrate into the United States, and allowing relief to be truly realized everywhere... She is an Italian, a woman, a religious worker, but more importantly, she is a person with great love in her heart.

Based on the true events, she has always supported herself with the power of wanting to save the world and rescue more people, and she never backs down when faced with anything. She encountered setbacks again and again, and bravely asked if they didn't believe in her because she was a woman, and insisted on communicating, not getting discouraged or giving up. From rescue, to moving into the city, digging wells for water, to building hospitals, she overcame every difficulty. I watched her being knocked down and blocked by male power again and again, and watched her stand up and start again again and again. I sincerely admire and appreciate her. It is precisely because of her hard work and persistence that she has become someone who truly changes the world.

The film's images are very beautiful, and you can see the care put into art and photography. A lot of backlit shots, the use of circles, and the superposition of light and shadow not only fit the protagonist's religious identity, but also represent that she is a very holy person, which adds a lot of storytelling. At the same time, it also makes the story's sense of time more in line with the environment and atmosphere at the time. The soundtrack is great, the emotions are full, and there is a sense of grand epic. It turns out that it is indeed a poetic historical film, and the power of women is demonstrated in a harsh environment.

This is not just a film for women, I think it is a film about heroism, but the heroes in the past were mostly men, and this hero is a woman. She is brave and intelligent, courageous and far-sighted, resilient and loving, and these beautiful qualities of human beings are all reflected in her, which is why she is very touching and inspiring. All the stories about her are tinged with extra brilliance because she is an excellent and charismatic person, which is also the part of the film worth watching.

The movie "Cabrini" is the latest masterpiece of director Alejandro Gomez Monteverde. It not only tells the personal history of Sister Francesca Cabrini, but also shows the bitter struggle of new Italian immigrants in the United States. Through the lens of the screen, the audience seems to encounter those historical moments unexpectedly, travel through the fog of time and space, and experience the intersection and impact of personal destiny and the torrent of the times. Film is an art of exploring possibilities. It will not simply copy words, nor will it completely copy the real world to the screen. In a sense, the film conveys an attitude.

Cabrini not only records the life course of a person, but also reflects the microcosm of human destiny in a certain period and reflects the fragments of collective memory. As a commentary and witness of a period of history, it confirms the truth that history is composed of the interweaving of countless individual destinies.

1.In 1898, Francesca Cabrini, only 39 years old, traveled across the ocean from Italy to the United States with a simple bag. In the land she arrived, Italian immigrants were facing government oppression, church neglect and social discrimination. There was an insurmountable gap between them and mainstream American society. The new immigrants were generally at the bottom of society, with poor living conditions, scarce resources, and difficulty in grasping high-quality development opportunities. When Cabrini tried to seek help from the mayor, the response she received was exactly the same attitude as the predicament she encountered.

Like all great people, Sister Francesca Cabrini had a strong sense of mission and bravely fought against the injustice of the time. However, the narrative of the film is not limited to Cabrini's personal achievements, but through her story, it depicts the development of the entire Italian immigrants in the United States.

In Cabrini, the director used very poetic shots to create a sense of the 18th century, while also cleverly using light and color to give the film a painting-like texture. A large number of backlit shots, the use of circles, and the superposition of light and shadow not only fit Cabrini's religious role, but also represent the sacredness of the image. At the same time, this aesthetic style also makes the film more in line with the environment and atmosphere of the time.

2.Director Alejandro Gomez Monteverde is from Mexico, a country known for its unique cultural background and artistic atmosphere. Its rich history, diverse ethnic cultures, and fusion of art forms have had a profound impact on Alejandro Gomez Monteverde's artistic creation. This may be because the unfair treatment faced by Mexican immigrants in the United States is quite similar to the experience of Italian immigrants.

At the end of the 19th century, the United States experienced rapid economic growth, which naturally gave rise to a huge demand for labor. Against this backdrop, a large number of Mexican immigrants crossed the border in search of job opportunities in the United States. They mainly worked in industries such as agriculture, mining, and railway construction, which were often labor-intensive and low-paid. However, this phenomenon caused uneasiness among some American workers, who believed that Mexican immigrants had taken away their job opportunities and resources, resulting in dissatisfaction and discrimination against Mexican immigrants. This contradiction caused by economic competition spread among different social groups, exacerbating prejudice against Mexican immigrants.

In 1910, a revolution broke out in Mexico, and the ensuing turmoil led to a large influx of Mexican refugees into the United States. This sudden increase in immigration has brought shocks to American society, especially in the fields of employment, housing, education, etc. The US government and some people are uneasy and dissatisfied with this, and this sentiment eventually turned into discrimination and exclusion against Mexican immigrants. In 1924, the US Congress passed the Johnson-Reed Act, which established a quota system based on the nationality of immigrants. This marked the end of the era of free immigration between the United States and Mexico, and made the problem of illegal immigration from Mexico increasingly serious. Subsequently, the United States took a series of measures to deal with the Mexican immigration problem, including strengthening border enforcement, sanctioning employers, and building a wall. These policies and measures not only reflect the US government's unfriendly attitude towards Mexican immigrants, but also to a certain extent aggravate the discrimination against Mexican immigrants in society.

3.This is not the first time that Alejandro Gomez Monteverde has focused his lens on marginalized groups in society. In his previous works, he has shown his deep concern for these groups. For example, in Bella, he revealed the brilliance of love and humanity through a simple but touching story; in Little Boy, he used the perspective of a little boy to explore profound themes such as war, family and faith; and in Voices of Freedom, he adapted it from real events and told the story of former Homeland Security agent Tim Ballard, who went to South America alone when the government was unable to send troops, and worked with several local partners to go undercover to save trafficked and abused children.

Alejandro Gomez Monteverde's special identity makes him tend to avoid grand narrative techniques, but maintain a restrained and stable artistic style. This makes his works neither too strong nor bland in emotional expression, and always focuses on the spiritual world of human beings. He does not use the causal logic of events and the past experiences of characters as the main narrative clues, but prefers to explore the inner world of characters in depth, thereby inspiring people to reflect deeply on social order, human weaknesses and spiritual freedom.

However, "Cabrini" is not a perfect biopic. The director deliberately downplayed the conflicts, and there were few descriptions of the lives of Italian immigrants. The way Sister Francesca Cabrini dealt with conflicts and solved problems seemed too simple, and the dimensions of the story were not rich enough, making it difficult for the audience to fully understand the full picture of the times and the influence of various forces on Cabrini. In terms of narrative rhythm, the progress of some plots seemed too slow or hasty. For example, in the process of describing Cabrini's establishment of orphanages and hospitals, the narration may be too lengthy, resulting in a tight rhythm of the film.

Although the film reveals the discrimination against Italian immigrants and other groups in American society at that time, it may not be deep and comprehensive enough in digging into the root causes of discrimination, social structural factors and its long-term impact. It only presents the appearance of discrimination, but does not analyze the complex social mechanism behind it in more depth, which makes the discussion of the theme remain at a relatively shallow level and fails to fully show Francesca Cabrini's wisdom and courage.

Cabrini The front of the letter describes how Saint Cabrini, as a female missionary, accomplished seemingly impossible tasks despite the many difficulties faced by the church and society. She was an industrialist. Girls need some courage.

The hidden thread is the dilemma of equal rights for new immigrants. We are all the same, but the haze of the time makes everyone think that many things cannot be changed, so everyone in the past could only struggle in the haze, and now groan on the Internet. However, what is never lacking is those warriors, those who persist in fighting, and believe that things will always get better. Some people call it ambition, but looking back, in fact, many things just need to be done.

In Cabrini's day, an Italian concert on the lawn was forbidden, and the mayor's secretary could call a nun a disparaging name just because she was Italian. Now, it's unthinkable for anyone to do that. When Cabrini fought for equal rights, people called her "ambitious" and called equal rights "hard to achieve," but now it's as normal as breathing.

In terms of technology, sincerity and presentation skills are really essential skills for everyone.

I recently watched a movie called Cabrini, which is probably one of the more interesting movies in recent times.

The story is not complicated. It is about an Italian nun who went to the United States to preach and established a charitable hospital. To some extent, it is also a common theme of Western universal values.

But if we use a different narrative method, such as looking at it from the perspective of the Communist International's socialist revolution to build tens of millions of mansions for the proletariat, it is not impossible.

Of course, you could say this is a stretch.

But if you read the details, you might have reservations.

The film begins with the motivation being directed towards China, hoping to build an orphanage in Far East Asia. Then, at the end, when the film loops back to the finale, it also ends with a shot of the hospital/missionary service built in China.

There was no mention of these two words at all.

So you asked if this plot could be removed. It's not impossible.

Of course, you can say this is to respect historical facts.

Moreover, China and the Communist International are not, at least not even now, equal.

Another focus of the film is the discrimination against Italians in the early stage and throughout the whole play. There is also some discrimination against other immigrants such as Irish and Latin Americans. Then, in terms of rhetoric, immigrants traveled across the ocean with the American dream of New York, but they could only gather in a slum and live a life worse than sewer rats.

The treatment of this subject here does not use the conventional black and Asian people to introduce it, but uses Italians, who are also considered to be Western images, as a totem of discrimination. But the choice of words and sentences will easily make you smile.

So, if you want to look at this film as a critical subject, it undoubtedly has a higher angle. Because it has nothing to do with skin color, it simply accuses the United States in the film of being xenophobic and arrogant.

Even some of the descendants of immigrants in the film, when promoted to a certain class, or even in power, can't help but have this kind of condescending attitude, thinking that everything is inferior to others. You can even elevate it to a deafening system problem, and skillfully use the social accountability of the system.

It is hard to say that there is no ambiguity and no patriotic enthusiasm in it.

Another point about this film is that it may be a feminist theme that Douban people like. But it is also just right because it is not about women redefining themselves, or the old-fashioned breaking/recasting of gender cognition.

The nun in the film had no intention of responding to the criticism or praise about how a woman should be, what she should do, and how she has achieved more than men. She just did it. Being a woman is a fact, and she hopes to do things is also a fact.

Two fold. Without being brought into a propositional hypothesis, there is no need to consider in what form the answer should be given. There is no need to even consider the truth or falsity of the proposition.

This is simply a refreshing revelation at this moment.

Just like I heard Bloomberg mention a word these days, dominant narrative. The interesting thing about this word is that if we look at the root of narrative in the present, it will also have a hilarious double meaning.

To paraphrase a familiar saying, what you love is your life. What you want to see is what you want to see.

So when discussing this topic, the film cleverly or soberly did not go into the topic to write an essay. Instead, it chose a normal but non-mainstream narrative method to show the absurdity of this issue in a certain form.

Just like the Baidu PR issue these days. When you fall into a seemingly flawless moral high ground, anything that goes against the values ​​of this system will be criticized.

If we use the description that some groups usually use, it is the Cultural Revolution. Or the corresponding universal values.

The common point of these is that although they have different forms, they all have the same value orientation or statement style of the supreme authority.

Just like you can't say that a breakup has nothing to do with the company. You can only say that the company didn't provide enough emotional value.

So if we look at this issue from a different perspective, it is actually that ideology, as a means of control and manipulation, has gotten out of control at some level.

You can't say there's anything wrong with the equality initiatives of former minorities such as LGBT. You can't even say there's anything wrong with people lying down and pursuing WLB now.

But obviously, any effort to confront or convert these views will almost certainly be met with frustration.

Unlike the so-called Beat Generation, which often turns out to be false in the end. Because the future may not have a relatively golden upward trend like the past.

So it is hard to say what the result will be after you abandon some of the things that actively or passively promoted your progress in the past.

After all, to some extent, there is a possibility that ROI does not constitute a valid range.

But in any case, it is highly likely that there will be a negative spiral. And it is a downward trend that is difficult to reverse and has many obstacles.

Back to the film itself.

This film is very valuable for using these almost unbiased perspectives and using a historical story to explain some current issues.

Of course, it may not be too much to say that it is unbiased. As I said at the beginning, you can use communism, Chinese experience, or even change the main color of black to bright red, and you can see a familiar narrative dimension and angle.

Even if you look at it as a way to get rid of poverty and become rich, there may not be any unexpected plot. Especially when it comes to uniting other immigrants and their descendants who are suffering, the Vatican may have already sung the Internationale in their hearts and will definitely win.

But even from a biased perspective, this is a pretty shocking and unexpected change.

After all, in the European and American mental models, the British and French continents are the origin of civilization, the Atlantic Ocean is the center of the world map, the United States is the New World, and the Mediterranean route is a glorious memory of wealth. In contrast, Asia is a vast uninhabited area to the east, Africa is a hot uninhabited area, and South America is an undeveloped area that is even farther away than the New World and difficult to navigate.

Under this kind of understanding, it is a rare change and even progress to use a hostile ideology from a country in the Far East as a guide to call for making America great again and solving the problem of rebuilding confidence in the American dream.

The remaining interesting things might be the dedication of clergy in religious systems, and the corresponding comparison of communism/party member dedication.

Especially considering that both systems have their own complicated realities and current situations. However, for the public critical perspective of the so-called suffering narrative nowadays, the social response is a little different.

Of course, it is not wrong to call it a so-called cognitive warfare/ideological invasion.