Leo's films are filled with the daily indulgence and separation of loving couples. At first glance, the incomprehensible logic of love always easily makes the audience get lost in his extreme image world. We even get used to the pure picture constructed by Leo with color, composition and sound. Scenery alone. Fast cuts, frame skips, upgrades... The director is free to use film techniques. But putting aside these delicate surfaces, Leo is actually telling a story about love very seriously. This love is presented through the game of chasing.
I have to admit that Leo is a good at shooting sports images. With only the passage of Liz chasing Alex, he stabbed Liz's love like fire, that scorching burning sensation, to the point where Alex couldn't breathe and could only choose to escape. It seems that young people's love is only composed of the contradictory words of possession and escape.
Alex's love is mysterious. His first experience of his love for Anna was the encounter with the woman in white on the tram. Without seeing the end, it is easy for the audience to misunderstand that Alex's love is just because of the strong desire of conquest aroused by the rejection of confession, because Anna in the film loves her Mark from beginning to end. However, several key moments in the film reveal that things don't seem so simple.
One is a paragraph where a woman in white and a little boy hide and chase each other on the street. At the corner of the street, the little boy and Alex appeared at the same time, running towards the woman in white. Obviously, the director used the time-space dislocation method to let the audience know that this is Alex's memory. He hopes to see his mother who died young again, because his mother's voice and smile always remain in his mind, and on the tram. Whether the woman in white is the incarnation of her mother, or just an illusion with vague memories, Alex is unknown, and the audience has no way to verify it. Alex runs, jumps, and somersaults in the streets. The street became the venue for his game. It was not until he went to the airport at the end of the film that he suddenly caught a glimpse of the woman in white reappearing on the street, while Anna, who he mistook for the woman in white, was sitting in the car with him. Seeing this, the audience seems to be clear that Alex's love is mystical maternal love. Just as Liz's love for Alex is a mystical patriarchal love, unlike Anna's search for older male love, the death of Liz's father makes both Alex and Liz fall in love with each other. It is regrettable.
But this kind of love chase game is always full of regrets and unknowns. Liz likes Alex, Alex likes Anna, Anna likes Mark, and Alex's good friend Thomas likes Liz. This pursuit of love is endless, like a child's game. Anna's sentence "Life is like a child's game", is it okay to replace the word "life" with "movie"? Leo designed a love chase game for the audience. In the game, there is no right or wrong, just enjoy it "like a child". Just like the run at the end of Anna, what is she chasing? The answer doesn't seem to matter anymore.
2018/10/31Fu Dong movie review review "Bad Blood" summary
1. It is easier to operate from the characters in the movie
It needs to be clearly verified for the presentation of the era/social background. The setting of STBO is actually a poetic AIDS, which corresponds to the situation in France and Europe in the 1980s.
2. Is general knowledge special? The consumer society in the 1980s had no particularity. Before and after, it was also consumerism. We should choose an appropriate social background to analyze movies.
3. For some words, is the protagonist Alex the tragic ending? For the understanding of "fate" and "tragic", these are imposed on the protagonist as a passive state. And many of Alex's behaviors of "stealing books" and "dumping his girlfriend" are his active behaviors, the result of a series of his behaviors, and more of a desire for self-destruction. Some details should be discussed in more detail.
4. It works well to start with a clip from a movie. Thematic things in Bad Blood are not mentioned, do they need to be added? More enrichment or trade-offs? (Professional commentary needs to be considered, important details should not be overlooked and need to be properly expanded, for example: skydiving - symbolizing danger/sacrifice - to refine this paragraph, an aesthetically important moment)
5. The problem of film language style/dramatic/mythical/poetic, it is a different language style, Leo is breaking the rules, not all rational handling, different film languages are metaphors/metaphors for other films
6. Others: Alex's body language is actually the behavior in silent movies, and the girl in white is actually the heroine in "Atlanta", which is an intertext with film history
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