8.9/10 This is my favorite style of work.
I bent down, picked up the scarf you left behind, and walked out of the pub. I call your name softly, midnight, the rain will come.
Of all the movies, French movies seem to have a particular appetite for me. Mostly due to survivorship bias, most of the French films I've watched have a special place in my heart.
It is actually not uncommon for such a setting to be a play within a play, a studio, and a director. Romantic "The Truman World" + artistic "Party A and B" = French-style "Belle Epoque".
If a movie is a kind of dream, then Belle Époque is a dream within a dream. The movie is undoubtedly the appreciation of God's perspective, and the movie in the movie becomes a kind of full-body immersion. This nesting allows the audience's emotions to be mobilized to the greatest extent. The scenes that are sometimes false and real, the dreams that seem to be virtual but real, and the emotional entanglements that are both true and false, are they false? Still real? I would rather indulge in this atmosphere.
Belle Époque's entry point couldn't be more commonplace. love? couple? I bet half the movies are about this stuff.
style. It's style that makes mundane propositions come alive.
passion and romance
In Belle Époque I saw the ultimate French passion and romance. Different from the enthusiasm of Spanish tomato and chili sauce, French romance is a little more ritualistic. A cup of ginger tea under the piano, a glass of whisky in a bistro, a walk in a rainy street, or just two people bathing in the bathtub, all the trivialities are washed into light gold by French romance - the sun at three o'clock in the afternoon color.
Imagination and Rhythm
"Belle Epoque" uses the rhythm of the film to the extreme. The smooth editing naturally advances the plot, and the parallel montage adds a contrast and reflection on the basis of the smooth narrative. As for the imagination, let alone the imagination, the dream is a variant of the imagination, and "Belle Epoque" is a concentrated demonstration of the dream.
I only love the scene where the woman leads the protagonist across the set. At that moment, under the escape and shuttle of the characters, everyone is part of the dream.
The color of the film is also worth mentioning. The content in the studio uses a lot of high saturation, resulting in a kind of absurdity that is detached from reality. I would like to believe that this is the main color of the dream.
For me, this is an unattainable film, and it has a special appetite for me, reminding me of "Pain and Glory" I watched not long ago. The almost absurd romance produced in the time travel is what I am more fond of.
say love back
Love is a hurdle that no one in any era can overcome. People without love long for love; people who get love ignore it; people who lose love yearn for love again. Humans never draw any experience in love, so that this proposition will probably exist with human history. And in the end, perfect love or, to put it bluntly, passion, may only be found in dreams.
Li Ao said: "Revisiting old dreams is destroying old dreams." I am not against this statement. Movies are dreams, and after the show, life is not illusory. But I also often fall into the fantasy of the good old days in my dreams, which in a sense is the spiritual opium of human beings.
Perhaps, could there be such a possible compromise, every day in the good old days?
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