Photography and narrow format are a match made in heaven, with portraits of leaders half-blocked on the walls, towering trees, long railways and streets, accompanied by long, slow panning shots. Most of the characters are close-up shots, which makes the proportion of the characters in the picture change extremely strongly, and the characters gain the dominance in the picture. The large depth of field makes the picture extremely gentle, and sometimes it is not clear whether the blurred background is in the mirror or the picture of the times in the fog.
When watching this film, the whole emotion is brought in, and the details of the characters are almost perfect. The woman said "In Poland you are a man, here you are not." "I believe in myself, but I don't believe in you."
The little gesture of the man leaning against the wall with his left hand after knowing the woman was gone; playing the emotional piano and crying in a club, when a panning camera turned nearly 270 degrees; Coins in.
In the end, the helpless words "Let's go to the other side, the scenery on the other side is better."
The music with strong Eastern European attributes has once again confirmed my Eastern European feelings... Of the 5 films I watched in Cannes this year, I admired Lazzaro and Burning on a rational level, but my favorite on an emotional level must be this one. Well worth the 2 hours it took today (without even having lunch) to go back and forth from school to the cinema.
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