All the love is in the little details

One of my important criteria for judging romance films is whether they explain clearly the ins and outs of love and the unevenness of love.

"Just because I saw you more in the crowd" is the laziest love account. There is no universal formula for love, which does not mean that the argumentation process can be omitted.

For Camille, love is the kindness and warmth of a stranger in a public laundry room handing over a tissue after losing his dog; it's putting on your black shirt, putting on your red hat, and becoming another self; In the grotesque circus, enjoy the shadow dance you perform behind the scenes; it is obviously afraid and hate paraglider, but very happy "I did it"; it is from "I'm not much of a drinker" and "I'm not much of a dancer" to boasting that you're good at cherry brandy, and letting you sprinkle blingbling gold on your head.

And for Petra, love is the voice you say switcheroo, the sudden sad look in your eyes, the panic you get after a whim, the duplicity that you say no while your body is honest.

But love is never just about surging and moving forward. Love also requires temptation, withdrawal, aggression, and withdrawal. Only the heart that has been examined is worthy of respect.

College teacher, candidate for president, professor of theology, every title puts a tight ring on Camille. After the impulsive first kiss, Petra's excitement is written in her three cartwheels, while Camille sits in the constantly rotating swivel chair, looking up at the ceiling, with the swivel shot from inside the high-voltage power line tower. The black lines are clipped together, and the metaphorical montage accurately conveys Camille's difficulties and difficulties.

Judging from the arc of character changes, Camille, like Thelma in "The End of the Wild", is the film's well-deserved first heroine. Petra is outspoken, quirky, and seems to be in the lead when it comes to relationships. But what the story really needs to tell is how Camille awakens and is reborn from the dilemma of looking ahead and looking back. Just like her dead dog, Bob, was taken out of the refrigerator, resurrected in the snow, shaken off the dust, and ran forward.

Thinking about it carefully, the character setting of the film is too similar to Desert Hearts. . .

There are also three sets of lenses that I particularly like. 1 is Petra blowing out the candle, a plume of white smoke floats out of the wick, followed by the same trajectory, an arrow tied with a letter shoots into Camille's house, opening the next paragraph. 2 is to show the shadow of the sun shining on the tree as time goes by, moving slowly on the wall. 3 is when Martin proposed to her at Camille's house, through the glass window, Petra outside in the background was crawling up the tree to peep.