I scribbled through Laota's famous "Stalker", and I fast-forwarded in some places. As a fan of "Flying to Space", I know the attributes of Laota's movie, and I have been mentally prepared. I want to "slowly" watch it, But still was worn out of patience, even after watching the original movie "Roadside Picnic". But even with this kind of viewing process, I was still touched. It was like, the nerve endings buried in the senses were all pulled out and exposed to the dank, fresh air.
The audition of Laota's film - the overall sensory experience, is the only support for me to complete his metaphysical journey, and I willingly believe that my own life experience is too thin to make this movie viewing process so difficult. Although there are too many viewers complaining about the emptiness of the content, I can personally feel that the content of the film is exuding from a huge container, giving us a glimpse. In terms of content, it is considered to be a profound film Influential works are bound to stand up to consideration.
What is mutually accomplished with the content of the metaphysical style should be the art of its film, audio-visual art, that is, "lens, picture content, sound", I am convinced that Laota is the poet of the language of the lens. The static picture of the character captures the gap between the thoughts and the thoughts. The static state is not completely static. Maybe the hair will float. Maybe the person in the picture turned sideways and blinked. The wind in the picture, the humidity of the air, the temperature , The stretching of the blades of grass is integrated into the close-up of the characters, and the sound effects seem to grow out of the picture, and can take the picture off the track and straight to the person's forehead. I've been thinking about what kind of conception makes a picture that doesn't have enough information so moving. The metaphor I can think of is that there is a strong story before this picture happens, and it is the aftertaste of the story itself, all the aftertaste contains. The information is enough to make the idle panic person push a story backwards. The core of the story of the old tower is rich enough. The commentary said that everything wants to be told but nothing is told. It is too rich to be described one by one, but what the old tower wants to express needs to be fused together.
So to me, it's a work of countless "lingering rhymes", and you can reverse yourself out of many stories and put them together to understand. Thinking about it is so tiring. For the sensibilities, why not directly feel the aftermath of the climax of the story, expose your nerves, accept this vague impact, and then on a certain windy and rainy night , I suddenly think of it, and then explore the concepts and stories here, it will be very beautiful.
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