Abbas' films also means choosing a "sweet burden". At the beginning of the film, British author James Miller, the hero, said in the opening of his speech to audience readers at the launch of the new book: "Art is not easy to write, there is no doubt. There is no fixed reference, and there is no constant fact. Based on that, I decided to explore...". This is also like Abbas's confession about film, he is extremely intelligent in the exploration of film form. We watched him tear down the outer walls of traditional narrative films, enter the room, and construct his own rich poetry at the level of the film itself. On the other hand, these images without much narrative, the film aesthetics of anti-immersion experience, and the abstract philosophical concepts explained by images are sometimes really embarrassing. Because, you need to climb out of the wall of life and use the thinking ability that he returned to you to creatively participate in the cultivation of the film, so watching becomes a kind of labor (even toil). 
There is a lot of dialogue in "Replicate", and it's hard not to think of "Before Sunrise" and "After Sunrise", which are all about the stories of the day, and Woody Allen's "Annie", which is also chattering. Hall, and Manhattan. Or does it still remind you of Bergman's "Marriage Life"? Binoche and Simmel take advantage of a misunderstanding in the cafe (the homonym of dance party) to put on a mask (the name of the Bergman movie), and play the "absent" dance partner beside them (my analogy is not suitable for understanding the plot, paste An unmatched summary of the actual plot: In a cafe, the lady boss thinks Miller is the woman's husband and starts a marriage discussion with her around Miller. So they go wrong, Miller starts playing the woman's husband, and the two go on a date , to the hotel.), while the audience participates in the process as a "sight-seeker" (what a marvelous identity that is both engaging and distancing). Abbas has always brought a lot of fun in film form. So we were able to watch the film advance while pulling out of the image to keep in touch with the real world. It's like I listened to the chatter in the movie last night, while still having the energy to feed the phone porridge that my roommate started cooking in sync with the movie. Andre Bazin's spiritual identification of the "image-reality" relationship seemed to have softly landed on a metaphysical plane during my viewing. Abbas
said that the inspiration for the film actually came from Nietzsche's philosophical point of view: "What matters is not how things are, but the way you look at them." As in "Reproduction as is", what matters in the film is not even the difference in artistic conception of why the hero and heroine are at odds, or the imaginative space brought about by Abbas's iconic open ending. Importantly, Abbas's constant quest for the exploration of film form nurtures the way we see film and, with it, the things presented in it.
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