American films, but the directors are from Iran, which partly explains why the visual and aural styles are biased towards Europe (I know Iran is in Asia, but Iranian films are biased towards Europe). A large part of the movie scene relies on the facial expressions and body movements of the characters. Many times the actions of the characters are very provocative, but the camera itself is still very restrained, and close-ups of the faces are often used to express the emotions of the characters to advance the story. The overall tone is very deserted, it doesn't drive the audience's emotions, or it doesn't incite emotions, but still leads the audience to feel it. To its credit, this movie is the best-looking of all modern Keira Knightley plays. Betrayal and suspicion are almost inseparable themes of marriage stories. The male protagonist derailed and went to bed, and suddenly came to his senses and ran home, as if he had chosen the latter between work and family to make up for the mistakes he made. Never mentioning what happened, it can be seen that he just wants to reduce his guilt instead of caring about his wife. The heroine started to bump into her ex-boyfriend from the moment she saw her. Before going out, she dressed up carefully and refused to welcome all the provocative words and behaviors of her ex-boyfriend. Although she didn't have a physical relationship with her ex-boyfriend in the end, it seems trivial to keep her body pure to such an extent that she is mentally derailed. The heroine also just wants to comfort herself psychologically. Marriage is a contract, a bondage. No one can guarantee that they will only love one person in their entire life. It is only the difference between the marriage contract and the marriage contract. I am connected with you in the contract, so I should be loyal to you, even if I cross the line mentally or physically, I finally return to you according to the contract, so I am still loyal to you. A scam, it's all a scam.
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