Awakening of female consciousness?

Elza 2021-11-25 08:01:27

This is the first time that Greek director Ougs Lansmos has filmed a script written by someone else in recent years. The script lacks his weird worldview. It feels that this time it is time to really test the director's ability and who is an iron fan. Although I watched a DVDscr of premature ejaculation during the awards season, I can still feel the gorgeous and exquisite scene. Lansmos once again showed the potential of Kubrick's brain-remnant fans. This time I learned [Barry Linden] and used candles to beat the British nobles. The photos are very beautiful. In addition, he used those fisheye lenses to fit the deformed and distorted relationship between the characters in the palace, and at the same time pave the way for the tragic ending of everyone leaving Queen Anne, and used the soundtrack and editing to reshape the rhythm of the movie. The movie is very pleasing to the eye. It’s just that the tricks of women’s palace fights are brought to Chinese audiences who are accustomed to watching palace fights at 8 o’clock. There is really nothing to see. Fortunately, the performances of the three actresses are very attractive, and the director’s style is very eye-catching. From a perspective, this is much more fun than a TV series that can only watch stories.

Nakia 2022-03-23 09:01:38

I felt a bit Barry Lyndon for the first 30 minutes, but when the BGM sounded sarabande, I was completely convinced that it was. It should be said that the director has mastered the theology of Ku, but he still hasn't learned the 'bones'. What supports Barry Lyndon's story is a rich description of the social class conditions of the characters, the protagonist's ups and downs shaping his personality and ideas, revealing the tragic fate of opportunists from the paradox of means and ends. But this film is really just a court drama. The class of the role of Sister Stone is only an introductory existence of the character background rather than part of the narrative. In a given 'smart woman' setting, the audience has to rely on too many stories It's hard to empathize with the characters if her outside imagination makes up for her motives. However, as far as the limited power play is concerned, the contrast between the personalities and acting styles of the two heroines is well done, and the delicacy in presentation is enough to overshadow the mediocrity of the core of the story. The whip pan catalyzes the narrative rhythm, and the special character ego is shot from a low angle. The fisheye lens is a bit confusing; the art finger and soundtrack are indispensable to the successful imitation of Barry Lyndon; three women are a good show