Love is quite absurd in this movie, lacking beauty and logic. Peter is an artist, but obviously the art is not overbearing enough. He wants to seek the ultimate expression but at the same time flow on the surface. The feeling of exaggeration is everywhere in the film. It can be said that Peter is only conveying the feeling, but has not been better portrayed. This is why the film is slightly longer than the average film, but it still looks out of sync. The first half of the film is very reserved, restrained and solemn in the Eastern style, while the second half has a strange sense of absurdity. Peter pays too much attention to details when editing, and pays too much attention to the role of imagery, which causes many paragraphs to be too procrastinated. It can not be said that the editing is not mature enough, but it is obviously timid.
The hidden axis of the film is revenge. Nuozi wants to avenge his father and also Jerome (Ewan McGregor). But the treatment on this point is not so succinct as it is pale. Peter could not photograph the revenge aesthetic of the Orientals. Those stylized, too many characters come and go in the film are too boring, both hurt the structure and destroy the fluency. This is quite a failure for the film itself, but the distinct personalization tendencies expressed from it as well as Paranoid ideals can still attract attention. It's boring and respectable at the same time.
What's more, it's Peter's ability to be able to shoot movies so dull.
View more about The Pillow Book reviews
