Editor and director: MICHELANGELO ANTONIONI
Photography: GIANNI DI VENANZO
A. How to maintain the dynamic sense of a static space. Composition that is both dynamic and static.
1. Wind: From the beginning of the film, it was a depressive indoor space, where the male and female characters face a breakup, and the atmosphere is solemn. An electric fan slammed into the air, setting off the stalemate in the relationship between the characters with a mechanical movement.
At the end, after the two said their farewells, the male lead leaned back in his chair. In a room without windows, the reports and documents hanging on the wall are constantly being blown by the wind, and the phone is constantly ringing. The male protagonist ignored him and frowned slightly. The heart is like Shen Tian. It is also a wonderful atmosphere to set off and render.
2. To freeze the character's performance and make it static.
A routine for black and white movies. The composition of the characters is extreme, either close-up or long-distance. Near-medium shots are basically not used. The result of this is that the expressions of the characters in the close-up are very delicate, and the eyes and even the muscle twitching of the mouth become very important. But in fact, the overall performance will tend to be real, not exaggerated, and the changes will be small. So it appears static, or it can be said to be a freeze-frame effect. In the distant view, the performance of the characters is compressed into a relatively static state by the surrounding environment.
3. Therefore, accidental interspersed "events" are used to break the static of character performance.
For example, a carriage passing by suddenly, a splashing faucet, and so on.
So in general, the picture is still in a state of dynamic and static balance, although the static part plays a key role.
B. space.
In his movies, space is always the protagonist.
C. emotion
The first man: an unstoppable love. He asked if you were not happy, and she replied that I have been happy to know you since I was in my twenties. When speaking, with his hands on his back and close to the door, a typical symptom of lying. In fact, smart people will stop here, not expose them, and save each other some face. However, people just like to humiliate themselves.
He asked, don't you love me.
--kindness.
——When did you stop loving me.
--I have no idea.
——Why don’t you love me anymore.
--I have no idea.
——Do you have another man?
——How many times have I told you, no.
At first I thought she was nothing but enthusiasm stifled by time. The kind of fruitless love in which you can't tell when you don't love anymore, and you also know that he has done nothing wrong.
But then there was a scene that overturned my judgment: she watched him sitting in the chair. He looked forward, his eyes cold. Doesn't look at her. She seemed to have suffered a lot, hiding behind the wall, biting her lip, shaking, her expression collapsed, and tolerated pain. This is a way for the weak to protect themselves.
If you contact the lens of the previous man's perspective, you will find that this man does not necessarily love her much. Probably it is a desire for physical possession. For example, his sight stays on her calf, which is a strong sexual suggestion. Afterwards, there were also several details of actions that showed his desire for her.
Therefore, this breakup can be characterized as a self-help.
Looking at it this way, many of Victoria's actions afterwards were also for the same purpose. She wanted to tell her mother, but her mother was addicted to the stock exchange; the man she met later, Pierrot, she knew deeply that it was just a brief love, without tomorrow.
Pierrot asked, shall we get married... Are we deeply in love?
--have no idea.
——I don’t know anything, then why did you meet me.
——Because I want to love you more.
When she said this, my chest was very tight. She finally didn't say that I didn't know. finally.
D. The
last set of long shots.
And there was a period in the middle. At night, Victoria went to look for a dog. There is a row of tall iron rods on the side of the road, humming along the wind. She stood in the night and could hear God. These shots moved me.
You will find that once those so-called moving and vigorous loves are put in the lens, they all fall into the same pattern. On the contrary, it is those ordinary and small things that cause great sadness in your heart, and you have to think: I have also stood in such a night, and I
was "eclipsed" out of my mind.
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