The love between Lisa and Max looks like a fairy tale. Max happened to see Lisa on the family DV and fell in love at first sight. Then it was persevering to follow, and then it was love in love. In this way, the two love each other in a natural, sweet, and fairy-tale way.
After that, without warning, Lisa left Max. He ran wildly in the heavy snow, searching for her all over the world, until he was sure that he was abandoned. He returned to his own world and began to cry indulgently like a child, watching her clothes burn with his love.
The director is very annoying, really annoying, and deliberately set up a imaginative dialogue. Seeing this, I really thought it was an infatuated boy (Max was really like a big boy at the time) and was dumped by a beautiful and imposing woman.
The relationship between Alice and Lisa made me sigh for a long time. Alice saw Lisa for the first time in a window. She knew that the woman in the apartment opposite was her ideal state-beautiful, sexy, and noble, the dream girl of all men. Lisa saw her at the same time on the other side of the window. In Lisa's eyes, she had always been the innocent and innocent girl behind the opposite window. As a result, they became close friends. Alice admires Lisa and admires Lisa; Lisa takes care of Alice like her sister, and life goes on like this. However, when Alice saw Max, her envy turned into jealousy.
Falling in love with his best friend's boyfriend, long before Max and Lisa met, is another fairy tale story. The tragedy is that love is absolutely selfish, and no one can love platonicly.
Alice was desperate in love from the beginning, and the dull pain in her heart was so close that she could see it as long as she opened the curtains. Max never noticed her, always just stared at Lisa. Here, the director has set up many small and meaningful details in a cunning manner, to quantify the neglected and abandoned sadness in Alice's heart.
Yes, everything, all the desperate misses were arranged by Alice, including the leaving without saying goodbye two years ago, and the weird reunion two years later.
The critics generally gave this film a high rating. "The temperament of the same line as Chieslovsky's'Red, White, Blue' series"; "The use of lens exceeds that of "Angels Love Beauty"" and so on. It’s hard to say that it is comparable to the master Chieslovsky or surpasses "Angels Loves the Beautiful", but it is comparable in every respect. Although some media have added suspenseful and horrifying gimmicks to this movie, I don't catch a cold. But the plot design of this movie is really different from ordinary romance movies, maybe it's not overly unique. And such a unique scene is expressed with his equally unique and appropriate lens language, which is the effect of the atomic bomb. Indeed, it is impossible to control such a huge audiovisual energy that simultaneously impacts the two bottom lines of human reason and emotion without certain skill.
Vincent Cassel and Monica Bellucci are absolutely golden boys and girls. One is a handsome French heartthrob, and the other is a beautiful Italian national treasure. After the filming of this movie, they got married. What a jealous couple! The acting skills are nothing to say. Monica, who is a model, may be a little tenderer, but Vincent is very explosive. He seems to have chosen different roles deliberately. I have always been a fan of him. (Hee hee, idiot.) Also like Romane Bohringer who plays Alice. Compared to Lisa played by Monica, this role is much harder to grasp. The crazy scheming hidden behind an innocent face, the flickering sense of guilt behind the selfish tricks; the most rare thing is that when she was playing tricks, when she was sad and desperate, what you saw was still That simple and kind face from the past. Romane interprets Alice's essential things, even in front of a pair of handsome men and beautiful women, which is really rare.
I have to admire the director’s genius lens language and editing method (this is the director’s debut, really shocking talent!), can make a girl’s crazy unrequited love so confusing and confusing, and make a man’s tangled love The interpretation is so fragmented.
Max and Lisa and love are an untouchable illusion from the beginning.
Once he was madly in love, staring at her silhouette across the road, glimpsing her red high heels at the corner, and capturing her familiar and seductive voice outside the phone booth. !)-all, all the signs of her existence, tell yourself that this is not evidence of illusion, until her leave without saying goodbye to bring him back to reality.
About her, I don't know, she may not love him as deeply, she has never been. The love for him and all the memories about him are just part of her life, nothing more. Therefore, when she heard from him again, she recalled the tenderness he left to her, like a married woman recalling her first love. For him, even though it is beautiful, it is already in the past tense.
Only Alice, she is the only one who loves completely from beginning to end, loving madly selfishly, loving desperately in pain, loving purely to the extreme. Exhausting all thoughts and all passions, she did not get him, she finally knew that she could not get him, she was tired, tired of this desperate love.
She said to him, "When you love someone, you don't realize how deeply you hurt others." She said, "In fact, you are also a hypocritical person."
He was surprised that the girl in front of him could see through. After more than two years of love, I can see through the psychological state that I have never dared to admit. Then this hypocritical person did what he thought was right-went to the airport to keep Alice who decided to give up.
I can't help wondering if Max really fell in love with Lisa. Why is it so easy to fall in love with another or even two other women; not why two years later, she is still struggling to follow the clues she left in the air. Time and time again, he just willingly settled all his love in her melancholy and affectionate gaze and her eager smile.
Like many French art films, the director is good at using some scene details to promote the development of the plot and express the psychological changes of the protagonist. For example, the symbolic square.
For the first time, he sat on a bench and waited for Lisa without saying goodbye. Snow flakes almost overwhelmed him. At the same time, he was overwhelmed by his desperate love. For the second time, he stood in the square and looked up at the familiar apartment. The leaves rolled up by the wind were spinning, half of the picture was filled with depression, and the love of the past swayed in the autumn wind. For the third time, he sat on the bench again. The floor was still haggard and yellow, but there was no wind; he was still waiting for Lisa, but he was holding Alice's diary—love, once in his hand. This desperate miss began to disintegrate and twist.
Max's love is actually endless waiting. Waiting in despair, desperate in waiting, waiting without results from beginning to end. He may be a boy who doesn't know how to love or understand himself, and he didn't mature until the end. Love, entangled or entangled there, the broken ones can never be put together.
If there were no Lisa's last tragedy, probably no one would blame Alice. In the end, Max chose his fiancée, the woman who has always been on the verge of this story.
In the end, this was the end. Alice looked at them from a distance, smiled childishly at them, and swallowed all the sadness at the same time. Perhaps, at this time, the man she would never get was no longer the reason for her despair. More perhaps, from the beginning, it was not the untouchable lover who was desperate, but the love itself that swayed in despair-another tragedy created by the weakness of human nature.
PS: I discovered very early (and mentioned in several other film reviews of mine) that the group of French directors has the characteristics of bravely facing the dark side of human nature. The tragedies under their lens are usually very desperate (for example, "Paris "Wild Rose", "Two Little No Guess", etc.). Because, in their tragedies, the cause of the tragedy is not the environment, the society, or even the fate, but the weakness of human nature. Over time, everything around you will change, but the essence of human nature remains the same. Therefore, such a tragedy is very desperate. "Very Apartment" is no exception.
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