Guo Lismaki reports that he was influenced by the minimalist styles of Ozu and Bresson. From mirroring, performance to plot, the works are almost dull. Miao Zai Guo loves Edward Hopper's photographic composition with sharp contrast between light and dark. And old rock music, as well as the unique "slow half beat" humor (laughs are in the after taste, short and refined, until you click), which add up to the only chemical effect of this family (especially the exquisite "Push" A masterpiece, the rhythm of the story is handled in a minimalist style, faintly fabled.)
Director Guo’s films have many elements that appear repeatedly: drinking, bands, dogs stealing the spotlight, and more conspicuously good deeds of the lower class. For example, in this "Fight" and the new work "Harbour of the Heart", the protagonist of the disaster always meets a group of small characters who have distinct personalities but happily knowing their lives. The audience can't help asking how the world is so beautiful? Later, I couldn't help asking myself why the world couldn't be so beautiful. There are both unreasonable troubles and good deeds. In fact, Guo Lismaki is very cold and kind. I call him "When Zhou Xingchi meets the day and night of Tianshuiwei."
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