I selected some scenes with obvious expressive intentions, between the composition and the light and shadow, and they are very cleverly used. Many lenses not only complete the expression and rendering of the narrative, but also have a very prominent formal aesthetics.
Bureaucrats appear (the composition expresses the character positioning of "behind the scenes")
The cake comes out, and the camera follows the cake all the way through the whole scene (the setting of the cake prop has a very important meaning to the film. Through the cake refers to the event behind it, an event that does not originally belong to the scene is subtly integrated into it, and through This dramatic way further enhances the contradiction it represents, and has made a stronger pavement for the entire film)
The president and the cake (the white cake opposes and oppresses the president's black dress. This shot lasted for a few seconds)
The first press conference (the front and back positions of the characters imply the relationship between the characters: the person behind the story, the person on the scene, the reporter outside the story)
Hotan witnessed his funeral
Moriyama questioned Shirai (In this scene, the protagonist is the "outlier" behind the spatial composition, but the most prominent "party" in the color of the picture)
Shirai explained to the president
The conversation between the president and the Land Bureau (from here, the president personally controls the incident)
A short family gathering (here we made a very interesting split between the four people)
The president invites Shirai to drink
Shocked Shirai (Several shots of Shirai have always been between the two walls, the positions of the president and Moriyama correspond to the two walls, Shirai was forced to the corner of the wall)
Hotan interrogates Shirai (huge shadow oppression)
Dialogue by the window on the 7th floor (the protagonist is highlighted)
Dialogue by the window on the 7th floor (the protagonist is highlighted)
Dialogue by the window on the 7th floor (the protagonist is highlighted)
The protagonist's heart is struggling between the original intention and reality (this scene lasted for a long time, the friend on the left hopes the protagonist will stick to it, and Hotan on the right wants the protagonist to give up, and the protagonist is struggling. After a conversation, the contradiction is resolved and the scene changes immediately)
The protagonist’s identity is exposed (this shot is not only very conflicting, but also forms a binary isolation through the door frame, the protagonist seems to be an audience standing in front of the screen)
The president falls into a passive
Moriyama is caught in the ruins, and the protagonist has a short-term advantage
Discuss how to announce to everyone that Hotan is still alive
Recall the past and discuss the exchange of identities between the two
Wada wanted to reconcile, and Itakura wanted to persevere. The two quarrel, and the parties are at the far end (Wada and Itakura always symbolize the contradiction between the protagonist’s original intention and reality, and constantly guide the protagonist’s inner struggle and advance the story)
The three talk to Moriyama in the secret room
Hotan once again persuaded the protagonist to stop, but was rebutted by the two
Hotan takes Jiazi to the ruins
Kako and the protagonist meet in the ruins (At this time the two people’s feelings have not confessed to each other, this shot expresses a gap through the scene, and also expresses the introvertedness of the two through the distance from the camera)
Jiazi asks the protagonist if his father is a bad guy
After recounting their father one after another, the two fell into grief
Jiazi went home and was found by his father
Father walks anxiously in the aisle
The father walked anxiously in the aisle (this mirror is very clever and more vividly shows the anxiety and anxiety in the person's heart)
Kako suddenly appeared from the mirror (with the soundtrack of shock, Kako appeared from the mirror, breaking the original balance of the picture)
Jiazi and brother came to the ruins
Jiazi and brother came to the ruins
A train passing by the car (as if recreating a tragedy that has already happened)
The last remember the press conference
The president is questioned
After the press conference, the president was finally relieved (from the crowded press conference site, turning around and entering this empty and quiet office, corresponding to the president's heart can finally let go of anxiety and relieve anxiety)
In the last scene, the president said good night to the bureaucrats behind the scenes
The last line is also very clever: "...It's... it's me... you specifically hung up the phone, really... yes, yes... so far, everything... makes you worry a lot... yes, Yes, then, as far as I am concerned, at this moment, for the sake of the company, it is better for me to resign temporarily. Ah? Temporarily go abroad for investigation? Yes, yes, I have the same idea, yes, yes...about my future advances and retreats You have to worry about your future...Yes, yes... Please rest. Ah? Oh! It's so thankful to say...Because I didn't sleep all night last night, I turned upside down in the morning and night. Hahaha... Okay, then I'll put down the phone."
Iwabuchi bowed his head to salute the phone respectfully. (End)
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