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Americo 2022-04-20 09:02:35
The hope of life does not have to be entangled in a moment
A person who is so desperate for life that he wants to end his life, finds his final residence in advance, and then drives back and forth to and from the long loess road. He needs a burial.
He kept chatting up with different people on the way, trying to tell them his needs in the most relaxed and... -
Percy 2022-03-27 09:01:20
The taste of cherries
A dying man
wandered aimlessly , big
and small stones flew down and
overturned the tender grass, and the boundless yellow land
murmured ominously.
A group of workers in green clothes ran over and lifted
the car in the mud pit.
He thanked
them and they gave him a cherry on top of a cake Sweetly made...
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Theron 2022-03-23 09:03:17
Very barely passable. It is relatively thin, and Abbas has nothing better to say to the world-weary. He can only talk about the deliciousness of cherries, but if cherries are delicious, they are not world-weary? what logic. The method is very loose.
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Zion 2022-03-15 09:01:10
A moving vehicle = a life's journey, a car window = a screen border, a character's eye = a camera lens. Construction strategies of slow movies: First, not revealing relevant information about the plot, the audience witnesses not that nothing happened, but does not know what is happening, thus causing a delay in the narrative. Second, repetition and circulation. The dialogue keeps returning to the topic of suicide, and the characters keep being taken to the same graveyard. At 00:02:19, the three seats showed the driver to be very calm. 00:24:18, the purposeful delay, the real life is like this. 00:36:11, the scene is excellent. 00:58:01, imagery. 01:04:03, half-rolled windows. The choice of three characters, three different ways of dealing with them, and three different ways of solving problems. 01:05:32, emotional fluctuations. 01:10:51, the scene changes on the way, from dusty and bare to luxuriant and vigorous. 01:21:46, on and off the field. 01:27:26, scene, one scene is multi-purpose. At the end, the black field is bravely used, and the white space is more powerful.
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Mr. Bagheri: Some things are easier to do than to say.
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Mr. Badii: I've decided to free myself from this life.
The seminarian: What for?
Mr. Badii: It wouldn't help you to know and I can't talk about it and you wouldn't understand. It's not because you don't understand but you can't feel what I feel. You can sympathize, understand, show compassion. But feel my pain? No. You suffer and so do I. I understand you. You comprehend my pain, but you can't feel it
