1. The film uses mirror reflections in the use of lenses. In this clip, the intermediary went out of the bar and got a phone outside the door. Through a glass window, the figure of the old professor was reflected on the glass, pressing on Akiko. The last thing that happened in this shot was Akiko screaming (note that when Akiko screamed, the camera was not given to Akiko, but to the intermediary. After Akiko finished screaming, the camera was given to Akiko
In many of Abbas' films, when two characters are in dialogue, he still deliberately only takes one side, allowing the audience to speculate on the speaker's demeanor and behavior through the listener's performance. This is a bit similar to Hirohee-ede. For example, when taking pictures of people watching fireworks, he never takes pictures of fireworks, but takes pictures of people's expressions, so that the audience can reflect how beautiful the fireworks are through people's expressions)) shouting that they don't want to go; and The next shot of this shot shows Akiko walking out of the bar to make a deal. Pay attention to Akiko's performance in the bar, she looks silly, just like a dirt, dealing with the entanglement of the introducer and the suspicious entanglement of her boyfriend, she has no willpower, and her eyes seem to be watching the other side timidly at any time. The reaction, although he repeatedly repeated the reason for not cooperating, was actually just a mechanical and dull conditioned reflex, and even screamed at the end, it was just a scream, and there was no willpower in it. After screaming, he followed them away.
Also notice that Akiko asked her friend for a lipstick before she decided to leave. Lipstick is the best tool for arming a woman. She is going to fight and face the enemy (man, whore).
2. The street scene of Tokyo city is reflected on the face of the heroine, at this time she has not put on lipstick
At the same time, in this small space, observe how the director structure, how to set the camera position.
Pay attention to the seat setting
3. Abbasdo loves to use voice-overs, and the key props and voice-overs show the characters' information and identities through mobile phone messages.
4. Pay attention to the use of this perspective. Before this, the lens of this perspective was rarely used, and the vehicle was driving from dark to bright, expressing that the protagonist entered a new area.
Also pay attention to what happened before this shot 1. Akiko asked the driver to go to her grandmother, she cried when she saw her grandmother, but did not go to look for her 2. Akiko wiped away her tears stubbornly 3. The music in the car started to play 4. Akiko put on lipstick 5. Enter a highway.
At the same time, some shots of the driver were taken in the camera inside the car. This is also a face of Tokyo. The emptiness of the city on this character's face is fully revealed, as if there is no gender, let alone joys and sorrows. As a driver in such a city, what can you control by yourself? Vitality was completely drained. No need to explain his ins and outs, everyone understands.
5. Akiko started to put on lipstick and started to sleep
6. Pay attention to the details of this man's wine. The man originally bought some wine from the Japanese food store below, but after contacting Mingzi, the man decided to take out the red wine that he collected at home
7. A few small twists in the play: 1. Akiko went to the bathroom, took out her cosmetic bag, people thought she was going to put on makeup, but in fact she was going to remove makeup I want to seduce the male protagonist, but in fact I am going to sleep
At the same time, pay attention to the layout of the lighting: the whole is dark yellow, and the light source that is emphasized is mostly yellow table lamps. Pay attention to the art design: the mirror design on the long and narrow corridor
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