LEOS did not specifically vilify the images of actors and actresses, nor did it try to create a down-to-earth social background - all these are the shooting styles that new wave directors must follow, otherwise he can't be called "new wave". The New Wave is an evolution of the realist film style. It still maintains certain realistic principles. We're so used to seeing fantastical movies that the slightly realistic taste of the sets, characters, and shots doesn't suit us well. If you watch a lot of LEOS's films, you will find that there are a lot of realistic scenes in each of his films, and this "romantic" love film is no exception. It is worth considering that Chinese movie fans unanimously believe that such a movie with little dream effect is "romantic" - this is probably the so-called "different" psychology. I have come into contact with a lot of stereotyped romance, and suddenly an alternative, the effect seems to be more than it should be. There is also the concept of place, "It's from France, so it's romantic..."
Personally, I like LEOS very much, his sense of space and the use of light are very stylized, and the rhythm of the film is just the kind I'm most comfortable with . "Shinbashi Lovers" shows his talent and the powerful vitality of the geniuses at the end of the New Wave.
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The Lovers on the Bridge reviews
