In the Words section, the director uses opposite lights for the day and night monasteries. During the daytime, the dim and stagnant candlelight in the monastery weighed down the obscurity and depression of the claustrophobic space. The monastery at night shows a strange style. At this time, the public places in the daytime quietly retreat. The bright blue moonlight, the curved dormitory corridor, and the narrow and quiet attic cast a touch of humanity on the monastery far away from the hustle and bustle. The light and warmth also created environmental conditions for Kerui to take in the Albanian girl Sangmina. A lot of expressive light effects were used here, especially the side backlight, which vividly brought the young priest's beautiful face and delicate temperament close to a woman. When Ke Rui was lying in bed, a monologue of love emerged in his heart, "Although I have passed through the valley of the shadow of death, I am not afraid of being killed, because you are with me", the director created a meaningful expressive light effect, the moon outside the window shone on the priest's face Flickering, and then the interracial hero and heroine who hated each other fell in love. This is the unexpected poetry that the young priest obtained in his lonely and silent cultivation career.
In the scene of the bar in the Faces section, the top light is basically useless, mainly low-angle bottom light and side light and other light effects, which convey potential threats. At the same time, the director makes the guests wear black and white clothes, and the waiter The black vest, the white tablecloth on the dining table, gives a dull and ominous hint. After the thugs in gray-white suits entered the bar, bright red, golden yellow, dark green, and strong and restless color blocks in the oil paintings in the glass frame on the wall began to be mixed, creating an extremely violent massacre for the 30 gunshots that followed. The strong dramatic atmosphere and the clever use of color promote the development of the plot, and its ideographic function is integrated into the narrative.
Since most of the pictures in the Pictures section were shot in the Macedonian mountains, natural light effects were basically used, but there were also many pastoral pictures of mountains that accompanied the photographer’s subjective line of sight. This section has a very deliberate pursuit of composition, and the photographer came to his parting sixteen. Before the dilapidated former residence of 2010, the weather changed instantly, and the dull and mottled brick walls suddenly brightened. Although music is the eternal companion of the picture, it is a sufficient means to greatly increase the aesthetic effect of the film. The film also has a distinct post-modern collage style in music, which crosses the boundaries of classical and modern, national and ethnic. The use of religious music, rock music, various ethnic and folk music of Macedonia makes the whole film always march in the atmosphere of "heavy rain is coming". There are more than 20 guitars, drums, pianos, vocals, etc. in the film. The background music is used abundantly and moderately. The music in Words and Pictures basically uses local instruments to play music with a strong Balkan place, and the national melody sets off in the melancholy plot. The Faces segment takes place in London and is dominated by more industrial guitar music that satisfies a cue to the environment. In addition to using Macedonian folk music, the Pictures section also uses a lot of low-end vocal chorus, plus the faint thunder and religious music throughout the film, giving the film a Macedonian-style poignant beauty and suffering, as well as the depth and depth of human nature. Looking at this film, I think the director does not only want to use words to tell the plot, he also wants to promote the connection between the narratives through the similarity of the characters in terms of modeling and other aspects, even if it is a fragmented picture and a flash of music. For example, when Father Corey and photographer Alexander were dreaming, the lens, camera position, light effect (shaking moonlight), the direction in which the camera moved, and the movements of the two people getting up were extremely similar. The light and shadow of mystery and fate shrouded the uncle and nephew. Another example is that the director made rock music play on the radio in the hands of a Serbian thug who broke into a monastery guarding at night and a fashionable London girl walking through a cemetery. What are the connections and implications of two lives at different latitudes? This may also be what the director wants to tell us, Time never dies. The circle is never round.
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