The reason under the apple tree, you said it’s important to have someone like me in the world

Pedro 2022-10-29 16:19:49

It is especially suitable for comparing it with "Barton Funk". I would like to ask if the Coen brothers have used it for reference. In the first scene, he spent his thoughts and thoughts on the right place. One is the pile of apples on the table, which are completely placed in a basket, festered or bitten by them, and one is from the third person perspective to the second person perspective. The conversion, I was trembling to see. The old witch played for the first time, and how he played with her skills in expressing her weirdness. One was to use editing to teleport her position. There were two times, using two editing sequences to show her. John at the first castle party still held an attitude of resistance, struggling between these monsters. He changed after "The Magic Flute", where art played the gravitational force of the abyss itself. The story of the confessed kid was John's hope for Emma. He hoped that she would be the same reason as the apple tree to hold him from going into the abyss, but they still found it. Veronica is the demon of artistic illusion that he pursues and fears. The eroticization of the psychology represents the uncontrollable panic. In "Winter Light", the woman pulls the priest back to the present world, but Emma fails to do so. German said that he tried to go further. This far turned the sitting under the apple tree into frantic footsteps and sharp smiles in the dark castle, violence and brokenness, and the me who couldn't feel you. Supplement: 20180616 Hongqiao Art Center

Regarding how to extradite Emma into John’s fantasy world, this is very important. Bergman made her passive. People in that world (old witch) came to her. I don’t know if this is appropriate. This is the same as some other places later, it belongs to the forced advancement of narrative. This time I re-watched it on the big screen and found some shortcomings, such as this. It seems not so smooth, like one after another raised mental tumors.

The good place feels better this time, but no one asks, I don’t know where to start.

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Extended Reading
  • Cheyenne 2022-05-04 06:01:02

    Bergman's [Jackal Moment] is not a nightmare, but an anxiety in the torture of insomnia, a mixture of artistic torture, old relationships and sinful feelings in marriage, and hostility to his audiences, buyers, and critics. Although the expressionist surreal horror passages are creepy, the final work feels unstructured. Obviously he didn't reconcile with the life outside of art, and he didn't even think that love was a good medicine. How could this make me feel deeply affected by Sang Ye.

  • Carter 2022-05-04 06:01:02

    This extremely dark Bergman movie is a deconstruction of fear. The core of fear is demon. Fear will invade in various ways, and demon will also appear in many faces, be swallowed by fear, and then be swallowed by demons. High-class demonic dinners with frequent camera movements are relatively rare in Bergman's films. The overexposure process is very interesting, and hard light is frequently used in shots that emphasize the sense of demons.

Hour of the Wolf quotes

  • Johan Borg: I know!

    Alma Borg: What?

    Johan Borg: I shall draw you.

    Alma Borg: No!

    Johan Borg: Oh, let me,

    Alma Borg: No.

    Johan Borg: Come on.

    Alma Borg: No.

    Johan Borg: Go and sit over there.

    Alma Borg: No.

    Johan Borg: Up you get, fatty.

    Alma Borg: Here?

    Johan Borg: No, a little bit further back. There. Are you chilly?

    Alma Borg: No.

    Johan Borg: Now sit - the way you always do. Don't straighten up. And bare your shoulders. That's it. Hold your hair up a little so I can see your neck better. There. Just like that.

  • Johan Borg: In an hour or so it will be daylight - and then I can sleep.