Still using classical music, this film uses Beethoven, with a touch of tragic and destiny, in line with the unyielding integrity of the scavenger artist who has encountered all kinds of ups and downs. I still like to speak with the camera, and it is still Joe Wright's usual practice to stretch the camera and close-up (especially the close-up of the hand) in an instant.
Many of the pictures in this film are very beautiful. Looking down on the pictures from high altitude many times, people are really very small and cannot be separated from the collective life. However, there are some people who, despite material scarcity and economic recession, live in poverty, they have a firm belief in themselves and swim freely in their own soul world. Music really heals wounds, like anesthesia.
In addition, this film also tells us that no one is the savior of anyone, and no one can be saved. In many cases, we can only accompany us as friends from time to time, and extend a meaningful arm when we need help.
The film also ends with Nathaniel, accustomed to playing solo, seated in a large audience, even though his physical and mental condition is still not considered normal. The form is a bit obscure, still prefer his first two works.
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