After years of rewatching, I can fully understand and feel Antonioni’s fully expressed emptiness, loneliness, alienation, uneasy and cold warmth. The relationship between feelings and language expression is just like the relationship between Antonioni’s film and narrative. , It is also true and false, the feeling is fully acting as the truth, the language is fully conveyed as a kind of language that is difficult to distinguish between the true and the false. The former carries a kind of ambiguity, and the latter is the same. This is completely different. The former is based on the ambiguity of interpretation, and the latter is based on the inauthenticity of language (it is difficult to describe this difference clearly in words, which is similar to the difference of heart and mouth, but the language is also true and false, only In the fake part, it shows disagreement). The contradiction between the true feelings of the human heart and the language conveyed has become a double contradiction and was photographed by Antonioni. Antonioni compares a middle-aged tired couple with the "emotional dead" tiredness, the emptiness of losing passion, and the past tense of love that spans the time span and the present tense brought about by marriage, emotions, and relationships. The gap and pain of the movie, as well as the stories generated by the characters having an affair with each other, further expand this tiredness and expand it into a broader emotional contradiction. In the end, the return of the movie is a kind of blankness, whether love is dead or Ignite rebirth again? There are 95 high-level images in the image. The more accurate the image is, the less redundant it is. Anton's image is between nothingness and reality. It fits perfectly with the creative motif. Every inch of the image language in the back lens is with the lines of the characters. The language is fully harmonious. I think that all important image elements are perfectly captured. Of course, the first half is still not perfect, whether it is an accurate choice of images or content! The only flaw in the 95-point screenplay movie is the lengthy opening at the beginning. I think it can be relatively subtracted, but Moreau’s intuitive traction has enriched the movie in a sense, but too many unintended drive directors still need to make relative trade-offs. , Just a little bit more streamlined! Director 95 points. I always think that Antonioni’s aesthetics is a spatial dimension, without time significance. The change of character’s feeling is also a spatial change that fits with the image, but there must be a time change of the character’s survival, which will change the character’s past and present. Solidified in the present space! Performing 95 points, Moro, as always, has unparalleled artistic intuition. Monica Witty has also completed the dual interpretation of the character's state and form in the video space. Every actor has completed the role fully and well, although the existence of these roles is only the main character. A substantive expression at the line level to support the true logic of its content! The overall group performance is great! Innovative 95 points of Anton’s images are still too many directors, in fact I think the originality of this kind of image has trans-age significance! The work scores 95 points, the content coefficient is 0.95, and the film history scores 90 points. It is included in my 100 best film history candidates!
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