Gallo's best work. For this kind of "emotional reading" type of film, I always unknowingly breed and bring emotions into it. Jarmusch's paradise Moying, Almodovar's told her, Wenders' Paris, Texas, Tezuka are really idiots... The sequelae caused by similar emotional penetration is: the film is over, but the emotions are still there continue.
This emotion is not attached to words, but comes from the character's identity, state, era background, and soundtrack. I think the soundtrack plays a great role in setting off emotions, and a good soundtrack can really catalyze emotions.
It seems a bit far-fetched, but what I want to say is that reading emotions is a very interesting thing. It's an obscure quest, a never-ending game of guessing.
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