D'Army Bailey

Effie 2022-03-21 09:02:49

Memphis is a huge vehicle for people of all shapes and sizes.
 
FAR FROM YOKOHAMA - A pair of young rock lovers came to Memphis from Yokohama to start a journey to find the hometown of their idols.
On the street at night,
Jun: If Yokohama knocked down 60% of the buildings, it would be a bit like...

Leonora 2022-01-13 08:01:38

How to let the audience watch a couple walking slowly through three sections of streets without getting bored, answer: Let them carry a red suitcase together.

Red is the theme color of the film. In the mysterious train, the red suitcase connects lively honey and cold purity. Red is a symbol of the...

Darwin 2022-03-19 09:01:07

The first work of Jamusch I saw. Everyone in the world only lives in his own world, and even the gunshot cannot interweave the fate of the protagonists of the three stories. This is a movie without a protagonist. Others are only supporting roles in one's own life, even if they are loved by oneself. There are too many coincidences in the world, but each of us lives for ourselves, so how can we have so much time to spend our energy? What about such inconsequential matters?

Jade 2022-03-25 09:01:16

I quite like the certain stagnation inherent in Jarmusch's camera movement, which stems from Jarmusch's inheritance and development of the long-shot grammar of the French New Wave. The lateral movement of the camera, while following the movement of the characters, weakens the perception of spatial continuity (two-dimensionalization of the plane), and forms a feeling of the objective rhythm of the picture (similar to the slow unfolding of a picture scroll). And Jarmusch creatively discovered the stagnation contained in the lateral movement of the camera. The movement of the characters is faster and slower than the movement of the camera (position of the characters), and when the side of the camera follows the movement of the characters, it often stagnates somewhere and allows the characters to move. The painting forms a fixed empty mirror, showing a subtle sense of rhythm to the precise control of the still time of the lens. The subtle differences in the rhythm of the movement of the characters/cameras also link up a richer and more diverse ideographic space. The stories in the three chapters are full of the dual proposition of wandering in the city/finding one's home, and the street/hotel also corresponds to it and becomes the two main images in the film. It is not uncommon for directors to discuss issues of communication difficulties between people, individual alienation, and the sense of alienation in modern society, and Jarmusch is the most genre-oriented one.