The old man's film is very calm, like oxygen, the narrative is never impatient or impetuous, and there is no obvious conflict with externalization, everything seems to be the character's emotional undercurrent.
The scheduling and camera design are very quiet, with a sense of oriental tranquility and poetry in the picture.
The entry and exit of the characters are often used, sometimes leaving a single person, and sometimes entering the painting as a double, the combination of space and people fully participates in the narrative.
The last shot is very shocking, with a big panorama, the woman strokes the man's hair, the man sits in a chair in dejection, and the sea in the distance is boundless, and they wait quietly for time to heal all wounds.
Adventure is a kind of state, a kind of human void. The state and emotions of characters are the most difficult to film in movies, and An Shi is definitely a master.
After watching the adventure, I understand why Wong Kar-wai said that An Shi is one of his idols, because in "In the Mood for Love", I can really see the shadow of the adventure. Many Maggie Cheung's scheduling in "Flower" is almost exactly the same as the heroine in the adventure, and The feeling of helplessness and decadence between the hero and heroine in "Flower" is like watching the scene in the hotel segment in the color version of "Adventures". Of course, this is by no means plagiarism like some domestic directors. Definitely a new lyric master pays tribute to his predecessors.
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