In the first shot, a toy car came out of the darkness and squeezed out a huge clown, which established the absurdity and fun of the film, and then cut directly to the happy and noisy scene on the stage. The huge visual and auditory gap aroused the curiosity and interest of the audience. The remarkable editing and transition of the whole film must have the dream of Fan Chuan at the beginning of the film. From the appearance of Fanchuan in the auditorium, immediately after entering the cage because of magic, the shaking and flickering of the subjective camera reflected Fanchuan's nervousness and anxiety. People in strange clothes flocked outside the cage, and the audience was shocked by the upward shot. pressure. When the cage was squeezed and deformed, the carpet produced a strange change and fell down into the void. The scene where the red pepper appeared to save Fanchuan implied the psychological treatment of the red pepper on Fanchuan outside the dream. Then through the disc transition to the scene of the Tarzan movie, through the collision to the scene of the detective movie, through the hit of the red pepper, to the scene of the photo shooting, the real time is frozen through the freeze frame of the photo, and the static background moves the scene. , by chasing scenes leads to Fan Chuan's deepest dreams, unsolved cases and escapes of unknown people. Fanchuan, who wanted to continue chasing, was blocked by the deformed corridor. The deformed and twisted corridor and the weightless shots in the all-white space allowed the viewer to fully appreciate the powerlessness and struggle of Fanchuan in the last dream. The whole dream has a compact plot, jumping scenes, and absurd composition, showing the absurdity of the dream and the seriousness of Fanchuan's own mental illness, layer by layer into the deeper heart of Fanchuan. All the transitions are very fluid, and the use of shots makes completely unrelated scenes intrinsically connected at this moment. The next impressive transition is the departure of the red pepper in the hotel. The red pepper gets up from the bed, and the close-up of the leg moves to the camera. The close-up of the red pepper's leg moves from the camera to a medium shot, omitting the middle shot. Unnecessary scenes such as clothes, the plot progresses quickly, without delay. The transition of each scene of the red pepper in the opening song is also very innovative and unique. It is not abrupt and smooth to enter from one picture to another. The use of mirrors in the burger shop is also the "trick" used by director Jin Min. ", Although the red pepper has no expression on his face, the disgust produced by the red pepper in the mirror is in the same shot, which also makes the audience stunned. In the last shot of the opening song, the red pepper driving the car turns into Atsuko, implying Atsuko's dual personality, and immediately after the scene of Atsuko parking, the feature film begins. The connection between the opening song and the main film is also very smooth because of the change of red pepper and Atsuko in the car, and the abruptly stopped music brings the audience's attention back to the main film. Next, when the chairman of the director's office said that the terrorists who stole DCminni would not think so, the director used the director, Atsuko and The short-term close-up shots of Tokita's three facial blinks quickly switch to bring a strong visual impact to the audience, conveying the actor's shock and panic to the audience, and then use the pull lens to pull the distance away from Tokita's face. Then the director was confused by the dream and rushed out of the corridor. In the camera where the director ran away, the corridor was sloping and not in line with the routine, implying that the director was in a wrong state. He used a strange composition to bring wonderful emotions to the audience. Director Jing's running shot crossed the axis, and the director deliberately used wrong editing techniques to convey stronger uncomfortable emotions to the audience through the lens. Next, the director's dream was displayed in a circular montage style, starting from the mid-range shot at the bottom of the ceremony team and returning to the director of the mid-range shot, showing the director's complete grotesque dream. When Atsuko discovered the basement in the ice room laboratory, a butterfly flew into the right end of the screen, and Atsuko was introduced to the playground outside the door by the butterfly. In the corridor, the director used a progressive narrative montage, using Atsuko's forward dynamic lens and subjective The empty mirrors of the shots are interspersed, followed by a transition that fades in and out. On the one hand, the transition is not abrupt, on the other hand, it fades into the playground and emerges from white light, which can better reflect its strangeness and magic. Atsuko jumping over the railing suddenly distorts the environment and shoots the city under the railing from a large angle, making the audience feel fear and weightlessness, and at the same time pinched a sweat for Atsuko, making the audience aware of the transformation of dreams and reality, and the film is even more gripping. When Fanchuan chatted with the director and drove on the road, the director's words aroused Fanchuan's memories of his past life. First, the sound and picture were used to show that the director's words had a great impact on Fanchuan. In the camera, Fanchuan's car stopped at a After the huge bus, I used the overhead shot and composition to make the bus feel a huge sense of oppression on Fanchuan's car. The tension and blur of the lens vented the discomfort of Fanchuan's body, and then used the shaking, blurring, flashing of the subjective perspective The panning and other short shots are quickly cut, and the huge tension shots are used to reflect the discomfort and panic of Fanchuan to the audience. In the second Fanchuan's dream, he fell into the elevator led by the red pepper, and used the elevator door switch to let the audience enter the fanchuan's dream layer by layer. He was blocked by Fanchuan on the 17th floor, but one was full of 17 The scene of the elevator number on the floors appeared, and weird and peculiar things happened again. The perspective of upside-down and side-shot increased the impact of this shot again, giving the audience a tense and absurd look and feel. This is followed by a close-up of Fanchuan's eyes, bringing him closer to the audience, and then using a pull lens and Hitchcock zoom to add depth to the background corridor. Next, pull the camera and put the fallen Fanchuan into the movie screen, implying the inner connection between Fanchuan and the film. When two dreams are mixed in the cinema, a cinema breaks the wall and a huge festival appears The team shots are also very good. From the beginning, the team flowed in from the vent and slowly entered the movie screen, and finally the cinema was completely broken, and the two dreams were gradually fused together with the lens and pictures. Next, the red pepper enters the dream, and uses Atsuko's extremely fast approach to the camera to convert the red pepper to leave the camera at a high speed, indicating the connection between the two characters. Same when it comes. When the red pepper entered the broken wallpaper, the light became very dim. At this time, the director designed the red pepper to become a glowing elf. On the one hand, there was a contrast between light and shadow, and on the other hand, there was a size contrast. The action of the peppers is more pronounced. When Atsuko and the director were chatting in the car, an empty mirror of rainwater on the car window, under the action of the wipers, the scattered rainwater formed a unified water flow, and when the wipers did not work, it flowed out of the unified water flow, that is, "proliferation" , which corresponds to what Atsuko said at that time. The red pepper was caught by Xiao Shannai, and he used the subjective perspective of the red pepper to take the shots of Xiao Shannai many times. The lying red pepper looked at the hill in front of him, and his whole face was lying in front of the camera, which had a great visual impact on the audience. Fanchuan recalls the way of showing old movies with his old friends in the past, and also interprets the first half of his life as a movie. After Fanchuan saved the red pepper at the end of the film, he used the way of filming again. Echoing back and forth, Fanchuan has a life in his life. The perfect ending, the desire to make a movie has also been realized. After Fanchuan shot Xiao Shannai, a close-up view of the face blowing the gun smoke, followed by the same scene and picture, turned into a backlight, highlighting the style of Fanchuan's hero saving beauty, the nightmare that had not been released for a long time ended at this moment, and finally used a pull The camera returns to the cinema screen. After the dream and reality are interspersed, the scene of the staff jumping off the building in order, the scene of the family turning into gold, the scene of the underage girl being "retained" by the mobile phone, the scene of the speech voting, the scene of grabbing the throne and climbing up one by one Corresponds to the problems in Japanese society. Jin Min's use of mirrors is very clever, using reflective glass to make two personalities appear in the same lens. And it is very good at using the turning point of the action as the editing point to make the picture smoother and avoid the audience's sense of jumping on the picture. In addition, the film uses a lot of shots where the characters are close and then the characters are far away, which can reduce unnecessary shots in the middle of the characters and make the plot more compact and exciting. Jin Min's use of mirrors is very clever, using reflective glass to make two personalities appear in the same lens. And it is very good at using the turning point of the action as the editing point to make the picture smoother and avoid the audience's sense of jumping on the picture. In addition, the film uses a lot of shots where the characters are close and then the characters are far away, which can reduce unnecessary shots in the middle of the characters and make the plot more compact and exciting.
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