Dawn, thin face, clean and handsome, calm. Crumpled and inferior coats, small restaurants, small mahjong halls, small buses, small attics, small bars, a little jerk. Three shootout scenes, the first went well, the second was injured, and the third failed. The last scene was the same as the first dubbing, the lines were similar, and the blood rushed to the camera. He was narrating, as if he had insight into everything about himself, as if he was too smart to be too involved, too lazy to be sloppy, too lazy to show mercy. A pair of partners who know each other, but they can't get too close. "He's been a part of my life over the years, but everything will pass, and I'd love to tell her I don't want to live like this again." He wouldn't choose her, for one, because she was part of his old life , he wanted to abandon the "past" that included her. A classmate invited to a wedding, "Every time I receive an invitation, I want to go, but I know very well that this kind of occasion is not suitable for me," because of occupation, personality, unable to socialize normally, and unable to love and hate ordinary and simple , can not lead a healthy and regular life.
The beauty is stunned, probably saying that Li Jiaxin is too beautiful and so beautiful, the taste of the characters is in the right direction, but the performance is a little superficial. Full of ruffian, cold, dark. Wearing a black silk fur coat, she cleaned his room, took away his trash, and guessed his current situation. He understands too well that "she is not a person who can live together", life is two people running in and complementing each other. And those who are all lonely, indifferent, and all decadent, whoever takes off the ice mask first will be a threat to themselves, and no one can afford another similar self. He used 1818 to show her a clear path and forget it. People who are not loved are indifferent to food and climate, and it is difficult to have any source of warmth. "I don't know any of those people, and I have no interest in them, but I know they will disappear soon." Indifference, indifference, active alienation, self-isolation, everything will pass, nothing is stable and safe.
The mirror of the bar, the beauty lies in the unreal image. "Sometimes I sit in the position he did, because of this, I feel like I'm with him", for the same reason, she masturbates on his bed, laughing, crying, she is the most exciting in the film Play, stunners are like that. Those who have seen it will not forget the appearance of the ankle, the arc of the leg line. "Some people are not suitable for getting too close. They know too much, but they are not interested. I am a very realistic person, and I know how to make myself happier." He guessed that she would come to him, and the song made her The sentimental song also hurt him inadvertently afterwards. The reaction when I heard "forget him" in the izakaya, say he doesn't love Li Jiaxin, I don't believe it. They were silent for a long time, and the closest distance was when he looked at the details of her face seriously. If silence is not awkward, it is tacit understanding.
When we met again, he had long forgotten that he had dated her. "Forget the past, do you still like me?" "I didn't say I like you, I just want to find a company." "Okay~" "Just tonight." "Or you will like me tomorrow~" He was indifferent and decisive, and she was naive and foolish. Karen Mok, short cheongsam and small shirt, long legs, great sadness and joy, hysterical, perverted and playful, very similar to Faye Wong in "Chongqing Forest", she is cute enough to be happy, she just wants to be loved, in order not to be forgotten, What can't be done.
Accompanying him to date Li Jiaxin, gradually disappointed, she walked into the heavy rain. She didn't know whether it was rain or tears on her face, and the coat behind her could still laugh. "We already agreed," he just wanted to find a company, he was just a part of her process. She wanted him to "speak clearly", but there is only confusion between men and women, so how can it be made clear.
Takeshi Kaneshiro, the ghost horse spirit, opened other people's closed stores, massaged pigs, washed clothes for beggars, forced people to buy eggplants, wash their hair, and eat ice cream. The relationship with my father, the unspoken love that is uneven in ordinary life. Wong Kar-wai's films rarely talk about family affection, but they are all delicate and moving. In this film, Takeshi Kaneshiro plays the role and the Taiwanese father, the izakaya owner and the family members mentioned in the description, "A Fei's True Story" A Fei and his biological mother and adoptive mother... The relationship with Yang Cai Ni, or the relationship with Li Jiaxin, or the boss's relationship Relationship, maybe, because he is not dumb, and his fantasy and madness are blocked from language, so there are not so many other meanings. When I met the flight attendant Yang again, the person who acted and cheered was no longer remembered.
Yang Caini, on the phone, fantasized, suspected, screamed, searched for Jin Maoling to no avail, made trouble unreasonably, scolded the street, beat up inflatable dolls, and scuffled in the tea restaurant. My favorite clip, the exaggerated and deformed ultra-wide-angle lens, the speed slows down, the inner space is wider, and the emotions melt in the gray-blue space and become longer. Two people behind the water curtain slowly, Takeshi Kaneshiro indulges in infatuation, tenderness, trying to get close, enjoying this ambiguity, one is immersed in the fantasy of the other. The locomotive passed through the tunnel like a streamer, and the two people with their chests against their backs separated the entire city. She turned into a flight attendant, this time on the phone, sweet and quiet, this time the person waiting, waited.
"Be careful now, be careful not to be emotional." It's easy to feel hungry and cold.
"Too many people passed by, until the clothes were torn, and no sparks were seen."
The two equally decadent people met in embarrassment and regained their expressions. Takeshi Kaneshiro took two locomotives, and the people and moods before and after the car were different. Li Jiaxin is behind Jin Chengwu, "I know this road is not very far, and I will get off the bus in a short time, but this minute I feel very warm." Still nothing lasts long, nothing remains unchanged, some are just this moment. Speed, passing through subways, streets, tunnels, passing of light and shadow, encounters and separations at uncertain times, uncertainties and fates.
The sense of depth in the space created by the wide-angle lens is like a world away, making the characters feel far away even if they are close at hand. The contrasting techniques of plot and editing go their own way in parallel time and space, just as their emotional worlds will not intersect. The soundtrack is also very flavorful, and Teresa Teng listened to it repeatedly even after "forgetting him". Hokkien sings "The person I long for in my heart". If I don't watch the end of the film, I really don't know it's Qi Qin. Li Jiaxin's own song, the lyrics "Dad, it was just like you said, now that the living, out number the dead. I`m one of many." Wong Kar Wai's movie soundtracks are worth searching for.
People and things other than the protagonist are always chaotic and noisy, in their own world, and the rest has nothing to do with them. The five angels are all marginalized, and the only flight attendant Yang Caini who has entered the normal range, is engaged in a mainstream recognized profession, with a beautiful and harmonious smile, and obtains happiness according to common sense. The rest of them, angels fell into the night. Angel and Huahua world, I don't know which one abandoned the other first, in short, one is abandoning the other, and neither can completely abandon the other. The world is crowded and complicated, and people are alienated and fragile. All kinds of voyeuristic perspectives, mirrors, shaking and trailing, I love them all. Wang Xiansen really understood the morbid psychology of urbanites for a long time, and even understood men and women.
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