CC Bergman suit, nearly 8.2 points (although it's easy to fall asleep watching at home, but the film is still a lot of good).
Bergman is back again with the voice-over narration used in his debut novel. The color photography is truly beautiful, the use of natural light to naturally de-sculpture.
Several film languages are impressive: 1. Anna comes to Andreas' house for the first time to borrow a phone, Andreas touches the door lock (to see if the door is closed), the camera stares at his close-up expression (the wriggling eyes and mouth corners suggest inner struggles) , As the film progresses, we will understand the frustration of Andreas' marriage and the desire for female love/body), Anna's voice on the phone is used as a voice-over at this time, and then the camera cuts to Anna's back, this series of operations is really unconventional, But it's a very cinematic cinematic vocabulary.
2. The exploration of the form of the film, similar to the combination of the "tidbits" of the interview and the feature film, only after seeing the first interview with Sydow did we understand what the L+ number at the beginning of the film represented.
3. Did Andreas borrow Bresson from reading the letter? (The voice read it aloud, and then the camera swept out the text of the letter, including the subsequent two flashbacks of the letter), just as Bresson's way of handling pickpockets is abnormal, Bergman seems to want everyone to feel , or just to make everyone uncomfortable and awkward.
4. Elis's role as a photographer, and the scene where the photo was taken (and the photo on the wall) is a reference to Antonioni's enlargement?
5. Two Andreas, one is Anna's past, the other is Anna's present (not necessarily the future), sometimes the choice of love is just going back to the old road without choice.
The most romantic scene: Eva and Andreas talk about her marriage in Andreas' cabin, with the red light of the sunset, old records dancing in the golden room
A lonely marriage needs to escape and talk,
You can only open up when you cry, face
And smooth the infinite wounds in the heart.
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