Director, what are you doing?

Darion 2022-04-20 09:02:37

The narrative of this film is unclear~~~
the psychological changes of the painter ~ the tragic fate of the heroine ~ the turmoil of Spanish politics ~ the hypocrisy of priests and religion ~ the contradiction between the ideas of the French Revolution and aggression ~ there is no line that speaks clearly to the point .
Director, since you put Goya's sketches before and after the film, I guess you want to talk about the ugliness of human nature, but what level of organization are you? You put all the messes together without layers and you didn't tap into the inner world of the characters. In the end, let the daughter happily watch the tragic effect in the comedy of the priest's death, and you didn't bring out the tragic effect at all~~~ Looking at
it, those scenes of abuse and beheading made me feel disgusted and not shocked inside. , and there is not enough foreshadowing to make me feel that the disgust comes from the ugliness of people, so I have absolutely no idea what you are going to shoot?
Goya is such a great painter. Linda only touched my tears with just a few touching strokes. Director, you spent more than an hour and it didn't hurt or itchy. I don't understand Natalie's nakedness. What is the sacrifice for?
There is the most unbearable, American English, British English, Spanish mixed together, nondescript. If you want to divide the upper and lower classes, please also speak French, okay? Although everyone in Fridari also speaks English with a strong Spanish taste, at least they are uniform and full of exotic flavors. Director, you're just piecing together and making this film very rustic. Please, ugliness is not a mess. You see, Baudelaire can express ugliness directly to the heart, but what about you? The narrative is not good, the characters and psychological portrayal are not good, is there a soundtrack? The rhythm can't be grasped, so you can at least shoot in line with the imagination of the American exotic, and the result is a mess.
The only bright spot is that Natalie Boardman's brothers are pretty good-looking, as well as Goya's apprentice.

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Extended Reading

Goya's Ghosts quotes

  • Inés: [model pointing at defaced portrait] Why doesn't that painting have a face?

    Goya: Because he is a ghost.

    Inés: No, he is not.

    Goya: Have you ever seen a ghost?

    Inés: No. But I have seen a witch.

    Goya: Oh, did you?

    Inés: Yes, but she had a face.

    Goya: So what did she look like?

    Inés: She was... all bent and creepy, and she...

    [whispers:]

    Inés: stank.

    [makes disparaging sound]

    Goya: That's interesting, because the witch that I know, she's... she's young, very lovely, and she smells of jasmine.

    Inés: [smiles] She does?

    Goya: She does. And I'm working on her portrait... right now.

    Inés: [smiles as it dawns on her what he means] I'm no witch!

    Goya: [chuckles] How do you know?

  • Tomás Bilbatúa: [worried father, to his young daughter] You have received a summons from the Holy Office.

    [she sits down]

    Tomás Bilbatúa: Do you have any idea what it might be about?

    Inés: No...

    Tomás Bilbatúa: Where did you go with your brothers last night?

    Inés: The tavern.

    [shakes her head]

    Tomás Bilbatúa: Think. Did you say something sacrilegious?

    Inés: [shakes her head] No.

    Tomás Bilbatúa: [to his two sons] Was there an incident or something they could hold against her?

    Álvaro Bilbatúa: She kissed the feet of a dwarf.

    [Inés sticks her tongue out at him]

    Tomás Bilbatúa: [to his daughter] You did?

    Álvaro Bilbatúa: She did.

    [his mother scoffs]

    Inés: Everyone did.

    Ángel Bilbatúa: You know... they can summon her just to... testify against someone else.

    María Isabel Bilbatúa: [hoarsely] Someone else?

    Inés: Is there someone you know they might be interested in?

    Inés: I don't know.

    [shakes her head]

    Inés: No.