APRIL THREE WEEK 2 ★★★★ Christian Mongy is too realistic to watch selectively. I must admit, this is a good movie, even a great movie. The story is very bland, and there is no major conflict. "He makes you feel like you are drinking a glass of boiled water, and suddenly your hands shake and the water spills all over the floor." It's not very good-looking, and it's too realistic. But after I tried to translate all his lens language, it seems that it is not so ugly. 1. Long lens. This film is basically a long shot (remove the "basic"), and the most classic and amazing and almost speechless scene is Otilia's scene at her boyfriend's dinner table. The camera places Otilia in the golden focus position, her boyfriend is slightly behind on the left side, and the two are her boyfriend's mother and father respectively. With the bookshelf as the background, it not only sets off her "scholarly family" growing environment, but also becomes a source of controversy. an important factor. From Otilia to everyone standing up to celebrate her boyfriend's mother's birthday, the whole process was not edited and lasted more than ten minutes. 2. Mirror imaging. The film uses mirrors to present two Otilia many times. On the one hand, the narrow room presents multiple layers of depth of field; on the other hand, it reflects Otilia's own inner struggle. 3. Color. The whole film is based on gray as the tone of the film, and the green T-shirt of the heroine Otilia is a bit dazzling. I think it is probably the director's indictment of the society at that time, as well as his self-dismissal and pity for life.
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