It's the first time I've seen a Wong Kar Wai movie.
I've heard many movie reviews, but when I see it in person, it feels different.
"Blueberry Night" is not a very new subject for me. Even a little contrived.
Right now, I might be on the same path.
stay. wandering. Then look around with bright eyes. No words, but in the end it belongs to that small piece of time.
Become the person in other people's stories, accompany you like warm tenderness, return, maybe go to another distance that you can't know.
I like Wong Kar Wai's handling of the shots. The way the camera shakes becomes the way to cut time. And the embedding of music. Silence some things, or turn some sounds into musical overlays.
The time I see in "Blueberry Night" is not time in objective space. It was Elizabeth's time, then a part of it swayed slowly, the figure dragged out the blurred light and shadow, was extended, was left behind in the same time, and then picked up the time and meaning of becoming Elizabeth.
A shot like this suddenly reminds me that I have that clip too. In a corner of silence that no one else has discovered and possessed, there is a story of time where my color is heavy and swaying.
There is a sense of laziness. A superficial feeling of laziness. Move the body and light and shadow very slowly, perhaps to mask the intense pain under the skin.
And about pain. Coming out of the habit of roaring, those delayed tiny gaps and wounds are more painful.
Wong Kar-wai's films may be films that belong to the field of vision outside the story. Although the intent of the first-person expression is clear and unambiguous. But the camera is always swaying outside the window, through the random letters in various colors of paint and fonts on the window, the expressions all sway between the letters themselves and the gaps between each other, the moment of disappearance and the moment of appearance are alternated, so there is an extra-event feeling.
I like the out-of-the-ordinary feel. Not fully brought in. Wandering around the edges, but the feeling of being embedded in the gaps, will be deeply rooted in the depths of the center.
"Blueberry Night" is a story about a girl growing up. But usually, the story itself is always just the shell. Those that happened, only spread into a soft and extended time body, seeping into the skin bit by bit, bit by bit changing personnel.
Difficult to hear language. Even the language and the music itself became blurred.
Except for the neon at night, the traffic lights flashing on the streets passing by, and the people who always wear the same color clothes, everything is like a shallow sense of existence, and it is only when you leave that you can feel the touch.
How do you say good-bye to someone you can't imagine living without?
I didn't say good-bye.
I didn't say anything.
I just walked away.
At the end of that night, I decided to take the The longest way to cross the street.
How do you say goodbye to someone you think you can't survive without?
I didn't say goodbye.
I did not say anything.
I just walked away.
At the end of that night, I decided to take the longest route and cross the street.
This is one of my favorite passages in the movie.
Although compared to this sentence, the description of blueberries may be more central.
But for the connection between time and emotional depth, I think this sentence is the most subtle and clear.
Everyone in the movie is saying goodbye. Say goodbye to different people, different times, different self.
Except at the end, melted blueberry pie with vanilla ice cream again.
I also want to walk that distance and finally reach the end point called the starting point.
Get lost in a certain period of time, travel through people and emotions of different shades, and when you return to your own world, eat a deep blue pie with white sweetness flowing through it.
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