The emotions wrapped in those fragments just burst at a certain moment. It's like a stream of undercurrents flowing into the light, but it's still bottomless. Life, love, understanding, living, one's own life and the life of one's family, the paradox of being one or parting can never be clearly defined, like "I don't understand you, but I love you, I love you, and no one can take it away. My love for you", the unbreakable rope, sweet or painful. Dramatic emotional conflicts in a small space, frequent close-ups of faces and details, and virtual focus of reality and memories, cause relatively amplified emotional tension. Although partial descriptions suppress the external environment, they also magnify the internal environment. Of course, the inner environment must be extended to the outside. The falling cigarette butts, the curtains floating in the wind, the dust in the storage room, and the speeding street seem to be a lonely monologue. According to the adaptation of the play of the same name by Jean-Luc Lagals, it is these souls who are entangled in love, loneliness, grievances and doubts in the family fences that move Doran. Since "I Killed My Mother", he has shown an ability to understand the relationship between relatives. In "Mummy", it is also a teenager and a mother. His understanding of family love in his growth is a direct creative experience. From Being in it, going back to the past, and then to the future node, the expression of youth or maturity coexists in Dolan's films, like growing up with him. Back in the film, specifically the relationship between the characters, Louis, who has been away from his hometown for 12 years, has the mood of going to the end of the world, but suddenly appears in the blurry doorway, and the distance between him and his family is like a virtual focus. The lens, the inner distance that is preset and always exists. Fear of coming and fear of losing, but in the end it seems to have lost more deeply and gained something more deeply. It seems that the relationship maintained by each postcard happens to be in the middle, why can't it be content with this state? Remembering every important festival, recalling with a smile the routine trips every weekend when I was a child, lying on the dusty bed and falling into the once beautiful love, the memory of twelve years ago is pulling the family life that has been separated for a long time, just like Louis has an urgent desire to return to his original home. He can't let go of the past love, but he still can't break through the barrier left earlier (although the film is blank here, except for the boredom in Suzanne's mouth and the indifference in Antoine's mouth), unable to realize the connection between the past and the present, in fact, it is impossible to enter In the family's long-standing life process, the original home never went back in the end. Louis failed, but he had already anticipated the failure. The fear he said, and the proof he said were all because he expected that he "will be the master of his life from beginning to end." As soon as the camera cuts to the picture of the family, I smell a little uneasy and cramped. Even if anticipation and inability to give up secretly dominate the action, many emotions will still spread unpredictably, because everyone is struggling in the scope of their own activities. , the individual fields continue to negotiate and collide with each other in the family. The relationship between Louis and Catherine, Suzanne, Mom, and Antoine, the relationship between them, is brewing and fermenting due to a sudden arrival, an atmosphere of old or new, familiar or mutated. Antoine hates to understand him the most. In his eyes, Louis is like a person who indifferently embraces loneliness far away from them and suffers from no one understanding. There is no need to deal with his narcissistic loneliness. Perhaps this idea has existed in the past twelve years. The relationship between him and Louis is an important line that promotes the development of the plot, from the impatience of interrupting his wife and mother's speech at the beginning, to the direct dissatisfaction with Louis at the lunch table, to the fierce irony in the car, and finally to the final meal The outbreak of dessert directly drives the plot climax. Compared with Antoine's slightly inferior resistance and questioning, Suzanne is more exploratory to Louis, with imagination and weak memory. She is attached to Louis, but is both close and alien. Neither she nor her mother understood him, why he came, but they would accept him unconditionally, and they didn't even dare to ask him to stay for a long time. Catherine knew what Antoine thought about Louis, and she was still willing to try to understand him and try to reconcile his relationship with Antoine, even though it ended in silence. Thinking of what Dolan said, only Louis is really alive in the movie. At first, I couldn’t agree. After all, if you only watch the movie, the comparison with Lewis’s perspective cannot deny the living conditions of his family. The difference between them is just different. Difficulty integrating life is like two roads crossing each other and then extending separately. But looking back on some scenes, it seems that it is. The starting point is nothing but love. Is the ability to love always there? the answer is negative. The arrival of Louis was actually like a pebble thrown into calm water, which only caused splashes, but could not change the calm. The family was inspired by the ability to love in that brief time, but no one really faced his departure at the end. As if desperate to get back into the calm for a breather, dragging each goodbye to the next. It's not because of love that you can't face it. Love is never an escape. Thinking of it this way, the film is really dramatic, and I think that explains why there were so many bad reviews when it premiered at Cannes. The dramatic elements are not limited to the structure of the film and the emotional conflict, but also the living conditions and character settings of the characters in the environment. If they are moved to the stage, there is no sense of disobedience. However, Dolan tried his best to use cinematic techniques to cover up his extensive use of drama, frequent close-ups and defocusing, focusing on subtle performances in an attempt to present a more real and natural emotional communication between characters. No matter how the filming method and script are adapted, it will be easier to be praised if you watch the film in a dramatic way. I can't help but sigh at the strength of the actors' performances. In front of their performances, the close-ups and transitions of the lens scheduling are all foils. Dolan's characteristics can still be seen in the soundtrack and camera rhythm. He has always been good at the coordination of camera images or movements with the rhythm of music, rotation or slow motion or high-saturation and high-contrast colors, visual and auditory bombardment of emotions. However, there are relatively few visual renderings in this film, and the cross-editing and soundtrack in the second half are particularly outstanding in promoting emotions. Although some songs are not very good. When I was thinking and writing these things, I even felt that there was a sudden change in my thinking, and I was a little confused at one point. I didn't particularly like this movie after watching it, but I was very moved after thinking about it, and there are some things worth thinking about. Tovan has a little bit of self-abasement resistance and questioning, while Susannah is more exploratory to Louis, with imagination and weak memory. She is attached to Louis, but is both close and alien. Neither she nor her mother understood him, why he came, but they would accept him unconditionally, and they didn't even dare to ask him to stay for a long time. Catherine knew what Antoine thought about Louis, and she was still willing to try to understand him and try to reconcile his relationship with Antoine, even though it ended in silence. Thinking of what Dolan said, only Lewis is really alive in the movie. At first, I couldn't agree with it. After all, if you only watch the movie, the comparison with Lewis' point of view cannot deny the living state of his family. The difference between them is just different. Difficulty integrating life is like two roads crossing each other and then extending separately. But looking back on some scenes, it seems that it is. The starting point is nothing but love. Is the ability to love always there? the answer is negative. The arrival of Louis was actually like a pebble thrown into calm water, which only caused splashes, but could not change the calm. The family was inspired by the ability to love in that brief time, but no one really faced his departure at the end. As if desperate to get back into the calm for a breather, dragging each goodbye to the next. It's not because of love that you can't face it. Love is never an escape. Thinking of it this way, the film is really dramatic, and I think that explains why there were so many bad reviews when it premiered at Cannes. The dramatic elements are not limited to the structure of the film and the emotional conflict, but also the living conditions and character settings of the characters in the environment. If they are moved to the stage, there is no sense of disobedience. However, Dolan tried his best to use cinematic techniques to cover up his extensive use of drama, frequent close-ups and defocusing, focusing on subtle performances in an attempt to present a more real and natural emotional communication between characters. No matter how the filming method and script are adapted, it will be easier to be praised if you watch the film in a dramatic way. I can't help but sigh at the strength of the actors' performances. In front of their performances, the close-ups and transitions of the lens scheduling are all foils. Dolan's characteristics can still be seen in the soundtrack and camera rhythm. He has always been good at the coordination of camera images or movements with the rhythm of music, rotation or slow motion or high-saturation and high-contrast colors, visual and auditory bombardment of emotions. However, there are relatively few visual renderings in this film, and the cross-editing and soundtrack in the second half are particularly outstanding in promoting emotions. Although some songs are not very good. When I was thinking and writing these things, I even felt that there was a sudden change in my thinking, and I was a little confused at one point. I didn't particularly like this movie after watching it, but I was very moved after thinking about it, and there are some things worth thinking about. Tovan has a little bit of self-abasement resistance and questioning, while Susannah is more exploratory to Louis, with imagination and weak memory. She is attached to Louis, but is both close and alien. Neither she nor her mother understood him, why he came, but they would accept him unconditionally, and they didn't even dare to ask him to stay for a long time. Catherine knew what Antoine thought about Louis, and she was still willing to try to understand him and try to reconcile his relationship with Antoine, even though it ended in silence. Thinking of what Dolan said, only Louis is really alive in the movie. At first, I couldn’t agree. After all, if you only watch the movie, the comparison with Lewis’s perspective cannot deny the living conditions of his family. The difference between them is just different. Difficulty integrating life is like two roads crossing each other and then extending separately. But looking back on some scenes, it seems that it is. The starting point is nothing but love. Is the ability to love always there? the answer is negative. The arrival of Louis was actually like a pebble thrown into calm water, which only caused splashes, but could not change the calm. The family was inspired by the ability to love in that brief time, but no one really faced his departure at the end. As if desperate to get back into the calm for a breather, dragging each goodbye to the next. It's not because of love that you can't face it. Love is never an escape. Thinking of it this way, the film is really dramatic, and I think that explains why there were so many bad reviews when it premiered at Cannes. The dramatic elements are not limited to the structure of the film and the emotional conflict, but also the living conditions and character settings of the characters in the environment. If they are moved to the stage, there is no sense of disobedience. However, Dolan tried his best to use cinematic techniques to cover up his extensive use of drama, frequent close-ups and defocusing, focusing on subtle performances in an attempt to present a more real and natural emotional communication between characters. No matter how the filming method and script are adapted, it will be easier to be praised if you watch the film in a dramatic way. I can't help but sigh at the strength of the actors' performances. In front of their performances, the close-ups and transitions of the lens scheduling are all foils. Dolan's characteristics can still be seen in the soundtrack and camera rhythm. He has always been good at the coordination of camera images or movements with the rhythm of music, rotation or slow motion or high-saturation and high-contrast colors, visual and auditory bombardment of emotions. However, there are relatively few visual renderings in this film, and the cross-editing and soundtrack in the second half are particularly outstanding in promoting emotions. Although some songs are not very good. When I was thinking and writing these things, I even felt that there was a sudden change in my thinking, and I was a little confused at one point. I didn't particularly like this movie after watching it, but I was very moved after thinking about it, and there are some things worth thinking about. , Susannah is more exploratory to Louis, with imagination and weak memory. She is attached to Louis, but is both close and alien. Neither she nor her mother understood him, why he came, but they would accept him unconditionally, and they didn't even dare to ask him to stay for a long time. Catherine knew what Antoine thought about Louis, and she was still willing to try to understand him and try to reconcile his relationship with Antoine, even though it ended in silence. Thinking of what Dolan said, only Louis is really alive in the movie. At first, I couldn’t agree. After all, if you only watch the movie, the comparison with Lewis’s perspective cannot deny the living conditions of his family. The difference between them is just different. Difficulty integrating life is like two roads crossing each other and then extending separately. But looking back on some scenes, it seems that it is. The starting point is nothing but love. Is the ability to love always there? the answer is negative. The arrival of Louis was actually like a pebble thrown into calm water, which only caused splashes, but could not change the calm. The family was inspired by the ability to love in that brief time, but no one really faced his departure at the end. As if desperate to get back into the calm for a breather, dragging each goodbye to the next. It's not because of love that you can't face it. Love is never an escape. Thinking of it this way, the film is really dramatic, and I think that explains why there were so many bad reviews when it premiered at Cannes. The dramatic elements are not limited to the structure of the film and the emotional conflict, but also the living conditions and character settings of the characters in the environment. If they are moved to the stage, there is no sense of disobedience. However, Dolan tried his best to use cinematic techniques to cover up his extensive use of drama, frequent close-ups and defocusing, focusing on subtle performances in an attempt to present a more real and natural emotional communication between characters. No matter how the filming method and script are adapted, it will be easier to be praised if you watch the film in a dramatic way. I can't help but sigh at the strength of the actors' performances. In front of their performances, the close-ups and transitions of the lens scheduling are all foils. Dolan's characteristics can still be seen in the soundtrack and camera rhythm. He has always been good at the coordination of camera images or movements with the rhythm of music, rotation or slow motion or high-saturation and high-contrast colors, visual and auditory bombardment of emotions. However, there are relatively few visual renderings in this film, and the cross-editing and soundtrack in the second half are particularly outstanding in promoting emotions. Although some songs are not very good. When I was thinking and writing these things, I even felt that there was a sudden change in my thinking, and I was a little confused at one point. I didn't particularly like this movie after watching it, but I was very moved after thinking about it, and there are some things worth thinking about. , Susannah is more exploratory to Louis, with imagination and weak memory. She is attached to Louis, but is both close and alien. Neither she nor her mother understood him, why he came, but they would accept him unconditionally, and they didn't even dare to ask him to stay for a long time. Catherine knew what Antoine thought about Louis, and she was still willing to try to understand him and try to reconcile his relationship with Antoine, even though it ended in silence. Thinking of what Dolan said, only Louis is really alive in the movie. At first, I couldn’t agree. After all, if you only watch the movie, the comparison with Lewis’s perspective cannot deny the living conditions of his family. The difference between them is just different. Difficulty integrating life is like two roads crossing each other and then extending separately. But looking back on some scenes, it seems that it is. The starting point is nothing but love. Is the ability to love always there? the answer is negative. The arrival of Louis was actually like a pebble thrown into calm water, which only caused splashes, but could not change the calm. The family was inspired by the ability to love in that brief time, but no one really faced his departure at the end. As if desperate to get back into the calm for a breather, dragging each goodbye to the next. It's not because of love that you can't face it. Love is never an escape. Thinking of it this way, the film is really dramatic, and I think that explains why there were so many bad reviews when it premiered at Cannes. The dramatic elements are not limited to the structure of the film and the emotional conflict, but also the living conditions and character settings of the characters in the environment. If they are moved to the stage, there is no sense of disobedience. However, Dolan tried his best to use cinematic techniques to cover up his extensive use of drama, frequent close-ups and defocusing, focusing on subtle performances in an attempt to present a more real and natural emotional communication between characters. No matter how the filming method and script are adapted, it will be easier to be praised if you watch the film in a dramatic way. I can't help but sigh at the strength of the actors' performances. In front of their performances, the close-ups and transitions of the lens scheduling are all foils. Dolan's characteristics can still be seen in the soundtrack and camera rhythm. He has always been good at the coordination of camera images or movements with the rhythm of music, rotation or slow motion or high-saturation and high-contrast colors, visual and auditory bombardment of emotions. However, there are relatively few visual renderings in this film, and the cross-editing and soundtrack in the second half are particularly outstanding in promoting emotions. Although some songs are not very good. When I was thinking and writing these things, I even felt that there was a sudden change in my thinking, and I was a little confused at one point. I didn't particularly like this movie after watching it, but I was very moved after thinking about it, and there are some things worth thinking about. . She is attached to Louis, but is both close and alien. Neither she nor her mother understood him, why he came, but they would accept him unconditionally, and they didn't even dare to ask him to stay for a long time. Catherine knew what Antoine thought about Louis, and she was still willing to try to understand him and try to reconcile his relationship with Antoine, even though it ended in silence. Thinking of what Dolan said, only Louis is really alive in the movie. At first, I couldn’t agree. After all, if you only watch the movie, the comparison with Lewis’s perspective cannot deny the living conditions of his family. The difference between them is just different. Difficulty integrating life is like two roads crossing each other and then extending separately. But looking back on some scenes, it seems that it is. The starting point is nothing but love. Is the ability to love always there? the answer is negative. The arrival of Louis was actually like a pebble thrown into calm water, which only caused splashes, but could not change the calm. The family was inspired by the ability to love in that brief time, but no one really faced his departure at the end. As if desperate to get back into the calm for a breather, dragging each goodbye to the next. It's not because of love that you can't face it. Love is never an escape. Thinking of it this way, the film is really dramatic, and I think that explains why there were so many bad reviews when it premiered at Cannes. The dramatic elements are not limited to the structure of the film and the emotional conflict, but also the living conditions and character settings of the characters in the environment. If they are moved to the stage, there is no sense of disobedience. However, Dolan tried his best to use cinematic techniques to cover up his extensive use of drama, frequent close-ups and defocusing, focusing on subtle performances in an attempt to present a more real and natural emotional communication between characters. No matter how the filming method and script are adapted, it will be easier to be praised if you watch the film in a dramatic way. I can't help but sigh at the strength of the actors' performances. In front of their performances, the close-ups and transitions of the lens scheduling are all foils. Dolan's characteristics can still be seen in the soundtrack and camera rhythm. He has always been good at the coordination of camera images or movements with the rhythm of music, rotation or slow motion or high-saturation and high-contrast colors, visual and auditory bombardment of emotions. However, there are relatively few visual renderings in this film, and the cross-editing and soundtrack in the second half are particularly outstanding in promoting emotions. Although some songs are not very good. When I was thinking and writing these things, I even felt that there was a sudden change in my thinking, and I was a little confused at one point. I didn't particularly like this movie after watching it, but I was very moved after thinking about it, and there are some things worth thinking about. . She is attached to Louis, but is both close and alien. Neither she nor her mother understood him, why he came, but they would accept him unconditionally, and they didn't even dare to ask him to stay for a long time. Catherine knew what Antoine thought about Louis, and she was still willing to try to understand him and try to reconcile his relationship with Antoine, even though it ended in silence. Thinking of what Dolan said, only Lewis is really alive in the movie. At first, I couldn't agree with it. After all, if you only watch the movie, the comparison with Lewis' point of view cannot deny the living state of his family. The difference between them is just different. Difficulty integrating life is like two roads crossing each other and then extending separately. But looking back on some scenes, it seems that it is. The starting point is nothing but love. Is the ability to love always there? the answer is negative. The arrival of Louis was actually like a pebble thrown into calm water, which only caused splashes, but could not change the calm. The family was inspired by the ability to love in that brief time, but no one really faced his departure at the end. As if desperate to get back into the calm for a breather, dragging each goodbye to the next. It's not because of love that you can't face it. Love is never an escape. Thinking of it this way, the film is really dramatic, and I think that explains why there were so many bad reviews when it premiered at Cannes. The dramatic elements are not limited to the structure of the film and the emotional conflict, but also the living conditions and character settings of the characters in the environment. If they are moved to the stage, there is no sense of disobedience. However, Dolan tried his best to use cinematic techniques to cover up his extensive use of drama, frequent close-ups and defocusing, focusing on subtle performances in an attempt to present a more real and natural emotional communication between characters. No matter how the filming method and script are adapted, it will be easier to be praised if you watch the film in a dramatic way. I can't help but sigh at the strength of the actors' performances. In front of their performances, the close-ups and transitions of the lens scheduling are all foils. Dolan's characteristics can still be seen in the soundtrack and camera rhythm. He has always been good at the coordination of camera images or movements with the rhythm of music, rotation or slow motion or high-saturation and high-contrast colors, visual and auditory bombardment of emotions. However, there are relatively few visual renderings in this film, and the cross-editing and soundtrack in the second half are particularly outstanding in promoting emotions. Although some songs are not very good. When I was thinking and writing these things, I even felt that there was a sudden change in my thinking, and I was a little confused at one point. I didn't particularly like this movie after watching it, but I was very moved after thinking about it, and there are some things worth thinking about. Demanding that he stay for a long time. Catherine knew what Antoine thought about Louis, and she was still willing to try to understand him and try to reconcile his relationship with Antoine, even though it ended in silence. Thinking of what Dolan said, only Louis is really alive in the movie. At first, I couldn’t agree. After all, if you only watch the movie, the comparison with Lewis’s perspective cannot deny the living conditions of his family. The difference between them is just different. Difficulty integrating life is like two roads crossing each other and then extending separately. But looking back on some scenes, it seems that it is. The starting point is nothing but love. Is the ability to love always there? the answer is negative. The arrival of Louis was actually like a pebble thrown into calm water, which only caused splashes, but could not change the calm. The family was inspired by the ability to love in that brief time, but no one really faced his departure at the end. As if desperate to get back into the calm for a breather, dragging each goodbye to the next. It's not because of love that you can't face it. Love is never an escape. Thinking of it this way, the film is really dramatic, and I think that explains why there were so many bad reviews when it premiered at Cannes. The dramatic elements are not limited to the structure of the film and the emotional conflict, but also the living conditions and character settings of the characters in the environment. If they are moved to the stage, there is no sense of disobedience. However, Dolan tried his best to use cinematic techniques to cover up his extensive use of drama, frequent close-ups and defocusing, focusing on subtle performances in an attempt to present a more real and natural emotional communication between characters. No matter how the filming method and script are adapted, it will be easier to be praised if you watch the film in a dramatic way. I can't help but sigh at the strength of the actors' performances. In front of their performances, the close-ups and transitions of the lens scheduling are all foils. Dolan's characteristics can still be seen in the soundtrack and camera rhythm. He has always been good at the coordination of camera images or movements with the rhythm of music, rotation or slow motion or high-saturation and high-contrast colors, visual and auditory bombardment of emotions. However, there are relatively few visual renderings in this film, and the cross-editing and soundtrack in the second half are particularly outstanding in promoting emotions. Although some songs are not very good. When I was thinking and writing these things, I even felt that there was a sudden change in my thinking, and I was a little confused at one point. I didn't particularly like this movie after watching it, but I was very moved after thinking about it, and there are some things worth thinking about. Demanding that he stay for a long time. Catherine knew what Antoine thought about Louis, and she was still willing to try to understand him and try to reconcile his relationship with Antoine, even though it ended in silence. Thinking of what Dolan said, only Lewis is really alive in the movie. At first, I couldn't agree with it. After all, if you only watch the movie, the comparison with Lewis' point of view cannot deny the living state of his family. The difference between them is just different. Difficulty integrating life is like two roads crossing each other and then extending separately. But looking back on some scenes, it seems that it is. The starting point is nothing but love. Is the ability to love always there? the answer is negative. The arrival of Louis was actually like a pebble thrown into calm water, which only caused splashes, but could not change the calm. The family was inspired by the ability to love in that brief time, but no one really faced his departure at the end. As if desperate to get back into the calm for a breather, dragging each goodbye to the next. It's not because of love that you can't face it. Love is never an escape. Thinking of it this way, the film is really dramatic, and I think that explains why there were so many bad reviews when it premiered at Cannes. The dramatic elements are not limited to the structure of the film and the emotional conflict, but also the living conditions and character settings of the characters in the environment. If they are moved to the stage, there is no sense of disobedience. However, Dolan tried his best to use cinematic techniques to cover up his extensive use of drama, frequent close-ups and defocusing, focusing on subtle performances in an attempt to present a more real and natural emotional communication between characters. No matter how the filming method and script are adapted, it will be easier to be praised if you watch the film in a dramatic way. I can't help but sigh at the strength of the actors' performances. In front of their performances, the close-ups and transitions of the lens scheduling are all foils. Dolan's characteristics can still be seen in the soundtrack and camera rhythm. He has always been good at the coordination of camera images or movements with the rhythm of music, rotation or slow motion or high-saturation and high-contrast colors, visual and auditory bombardment of emotions. However, there are relatively few visual renderings in this film, and the cross-editing and soundtrack in the second half are particularly outstanding in promoting emotions. Although some songs are not very good. When I was thinking and writing these things, I even felt that there was a sudden change in my thinking, and I was a little confused at one point. I didn't particularly like this movie after watching it, but I was very moved after thinking about it, and there are some things worth thinking about. Fa agrees, after all, if you only watch the movie, the comparison with Lewis’s perspective cannot deny the living state of his family. The difference between them is only the difficulty of integrating different lives, just like two roads crossed and then extended. But looking back on some scenes, it seems that it is. The starting point is nothing but love. Is the ability to love always there? the answer is negative. The arrival of Louis was actually like a pebble thrown into calm water, which only caused splashes, but could not change the calm. The family was inspired by the ability to love in that brief time, but no one really faced his departure at the end. As if desperate to get back into the calm for a breather, dragging each goodbye to the next. It's not because of love that you can't face it. Love is never an escape. Thinking of it this way, the film is really dramatic, and I think that explains why there were so many bad reviews when it premiered at Cannes. The dramatic elements are not limited to the structure of the film and the emotional conflict, but also the living conditions and character settings of the characters in the environment. If they are moved to the stage, there is no sense of disobedience. However, Dolan tried his best to use cinematic techniques to cover up his extensive use of drama, frequent close-ups and defocusing, focusing on subtle performances in an attempt to present a more real and natural emotional communication between characters. No matter how the filming method and script are adapted, it will be easier to be praised if you watch the film in a dramatic way. I can't help but sigh at the strength of the actors' performances. In front of their performances, the close-ups and transitions of the lens scheduling are all foils. Dolan's characteristics can still be seen in the soundtrack and camera rhythm. He has always been good at the coordination of camera images or movements with the rhythm of music, rotation or slow motion or high-saturation and high-contrast colors, visual and auditory bombardment of emotions. However, there are relatively few visual renderings in this film, and the cross-editing and soundtrack in the second half are particularly outstanding in promoting emotions. Although some songs are not very good. When I was thinking and writing these things, I even felt that there was a sudden change in my thinking, and I was a little confused at one point. I didn't particularly like this movie after watching it, but I was very moved after thinking about it, and there are some things worth thinking about. Fa agrees, after all, if you only watch the movie, the comparison with Lewis’s perspective cannot deny the living state of his family. The difference between them is only the difficulty of integrating different lives, just like two roads crossed and then extended. But looking back on some scenes, it seems that it is. The starting point is nothing but love. Is the ability to love always there? the answer is negative. The arrival of Louis was actually like a pebble thrown into calm water, which only caused splashes, but could not change the calm. The family was inspired by the ability to love in that brief time, but no one really faced his departure at the end. As if desperate to get back into the calm for a breather, dragging each goodbye to the next. It's not because of love that you can't face it. Love is never an escape. Thinking of it this way, the film is really dramatic, and I think that explains why there were so many bad reviews when it premiered at Cannes. The dramatic elements are not limited to the structure of the film and the emotional conflict, but also the living conditions and character settings of the characters in the environment. If they are moved to the stage, there is no sense of disobedience. However, Dolan tried his best to use cinematic techniques to cover up his extensive use of drama, frequent close-ups and defocusing, focusing on subtle performances in an attempt to present a more real and natural emotional communication between characters. No matter how the filming method and script are adapted, it will be easier to be praised if you watch the film in a dramatic way. I can't help but sigh at the strength of the actors' performances. In front of their performances, the close-ups and transitions of the lens scheduling are all foils. Dolan's characteristics can still be seen in the soundtrack and camera rhythm. He has always been good at the coordination of camera images or movements with the rhythm of music, rotation or slow motion or high-saturation and high-contrast colors, visual and auditory bombardment of emotions. However, there are relatively few visual renderings in this film, and the cross-editing and soundtrack in the second half are particularly outstanding in promoting emotions. Although some songs are not very good. When I was thinking and writing these things, I even felt that there was a sudden change in my thinking, and I was a little confused at one point. I didn't particularly like this movie after watching it, but I was very moved after thinking about it, and there are some things worth thinking about. Return to the calm for a breather, and drag each goodbye to the next. It's not because of love that you can't face it. Love is never an escape. Thinking of it this way, the film is really dramatic, and I think that explains why there were so many bad reviews when it premiered at Cannes. The dramatic elements are not limited to the structure of the film and the emotional conflict, but also the living conditions and character settings of the characters in the environment. If they are moved to the stage, there is no sense of disobedience. However, Dolan tried his best to use cinematic techniques to cover up his extensive use of drama, frequent close-ups and defocusing, focusing on subtle performances in an attempt to present a more real and natural emotional communication between characters. No matter how the filming method and script are adapted, it will be easier to be praised if you watch the film in a dramatic way. I can't help but sigh at the strength of the actors' performances. In front of their performances, the close-ups and transitions of the lens scheduling are all foils. Dolan's characteristics can still be seen in the soundtrack and camera rhythm. He has always been good at the coordination of camera images or movements with the rhythm of music, rotation or slow motion or high-saturation and high-contrast colors, visual and auditory bombardment of emotions. However, there are relatively few visual renderings in this film, and the cross-editing and soundtrack in the second half are particularly outstanding in promoting emotions. Although some songs are not very good. When I was thinking and writing these things, I even felt that there was a sudden change in my thinking, and I was a little confused at one point. I didn't particularly like this movie after watching it, but I was very moved after thinking about it, and there are some things worth thinking about. Return to the calm for a breather, and drag each goodbye to the next. It's not because of love that you can't face it. Love is never an escape. Thinking of it this way, the film is really dramatic, and I think that explains why there were so many bad reviews when it premiered at Cannes. The dramatic elements are not limited to the structure of the film and the emotional conflict, but also the living conditions and character settings of the characters in the environment. If they are moved to the stage, there is no sense of disobedience. However, Dolan tried his best to use cinematic techniques to cover up his extensive use of drama, frequent close-ups and defocusing, focusing on subtle performances in an attempt to present a more real and natural emotional communication between characters. No matter how the filming method and script are adapted, it will be easier to be praised if you watch the film in a dramatic way. I can't help but sigh at the strength of the actors' performances. In front of their performances, the close-ups and transitions of the lens scheduling are all foils. Dolan's characteristics can still be seen in the soundtrack and camera rhythm. He has always been good at the coordination of camera images or movements with the rhythm of music, rotation or slow motion or high-saturation and high-contrast colors, visual and auditory bombardment of emotions. However, there are relatively few visual renderings in this film, and the cross-editing and soundtrack in the second half are particularly outstanding in promoting emotions. Although some songs are not very good. When I was thinking and writing these things, I even felt that there was a sudden change in my thinking, and I was a little confused at one point. I didn't particularly like this movie after watching it, but I was very moved after thinking about it, and there are some things worth thinking about. Although some songs are not very good. When I was thinking and writing these things, I even felt that there was a sudden change in my thinking, and I was a little confused at one point. I didn't particularly like this movie after watching it, but I was very moved after thinking about it, and there are some things worth thinking about. Although some songs are not very good. When I was thinking and writing these things, I even felt that there was a sudden change in my thinking, and I was a little confused at one point. I didn't particularly like this movie after watching it, but I was very moved after thinking about it, and there are some things worth thinking about.
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