Many people have pointed out An's sensationalism, but they are actually right, even if the requirements may be harsh.
Whether it's a perplexed tree in the far distance, or Ula and Alexander walking oncoming at the beginning,
or the confused children on the platform of the train slowly moving forward.
But this is what I want to be sensational, and the term sensational can be exempted from being a commendatory term at this moment.
It will not be instant consumption, it will not shout "freedom" like "Brave Heart", nor will it say life as a box of unopened chocolates like "Forrest Gump".
All these feelings are an undercurrent in the depths of my heart, gurgling and flowing silently.
Each picture is easily rich in the beauty of the photographic composition, and is rigorous and simple without artificial coloring.
And it is this simplicity that creates a full religious meaning.
Angelopoulos, who witnessed his father's death, asked Ula and Alexander to search for his imaginary father in the movie instead.
The tragic scene of the movie is when Alexander screams "Ula", but his younger sister loses her virginity for a journey that can never be completed.
But what is even more tragic is that later Ula began to understand how to use her beauty to obtain travel funds at the station.
The original soundtrack of the movie is Eleni Karaindrou's "Music For Films" ECM 1429.
Only then did I see that the tenor saxophone player is actually Jan Garbarek. Although he has never felt for Jan, his cold-blooded character is indeed suitable for Eleni Karaindrou, and also suitable for Angelopoulos.
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