But I think that the light and shadow technology and the use of lenses in a film are all for expression. In addition to the poetry expressed by the lens itself, what else is left in this film? Nothing at all. As the spiritual core of Nie Yinniang, she is as pale, thin and powerless as a piece of paper in the film, and the interpretation of other characters also basically fails.
Please don't tell me to make up for the original in advance. If the audience needs to make up for other works of art to help understand the movie, then even if I understand the full connotation, it is because the original is good, not your movie.
People say they don't understand this movie, which is really flattering. Usually we say "can't understand" because there are various metaphors and puzzles in it, which need repeated chewing and deep thinking to understand, and cannot be understood at one time. But in this film, what it presents (including the poetry of light and shadow, and the blank space in the lens), everyone actually understands it, but doesn't understand it, just because it has nothing else.
I've always disliked that kind of director who puts technology over content expression, or, in other words, does nothing but use technology to express. The technology mentioned here refers to lens language, light and shadow coordination, editing, etc. Although these technical forms are an important part of content expression, they should not be all. And some directors (I found Taiwanese directors even more), especially love these technical expressions, long shots, depth of field, side lighting, it seems that without these methods, there is no way to make a good movie, but the whole movie is down, except for these technologies The form is impressive, nothing else.
Just like a person who looks good, dresses well, and makes up exquisitely, unfortunately, he just can't speak well. . .
Why is the movie called "Assassin Nie Yinniang"? Why is it not called "Tang Dynasty Landscape Photography"? Because in my opinion, the expression of Nie Yinniang's spiritual core is not as delicate as that touch of landscape. . . .
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