Dolan’s self-innovation can be seen in the subject matter, but compared with the mother’s family line, the previous thinking is repeated. However, the presentation of the text, that is, the form, is also the standard for film evaluation. In this regard, I am very surprised. The visual effects of "And Maxim" and the various sensory impressions it brought to me were excellent.
It's not just love, it's also a good deal. This article doesn't cover it. Maybe I will talk a few words when I have time.
① Soundtrack
The soundtrack of this film is one of the absolute highlights. It is not too much or noisy, but each capital is closely connected with the editing and the rhythm of the film, which realizes the dynamic connection and jump of several scenes, and realizes the right on the basis of non-obtrusiveness. Active control of perception.
②Lens
I was particularly impressed with the following four shots, and I will talk about my thoughts with the language analysis of the shots:
(1) When shooting Sister Marty's short film assignment, the two turned to each other unnaturally, and the first kiss was cut off seemingly mercilessly. The question about whether the two people are close or not was originally pinned in this scene. The clean cut is by no means accidental. While "disappointing" the audience, it also provides a stronger reference for the later viewing experience. From then on, the kissing scene changed from the current image attribute to the source of all the mental ups and downs of Marty in the later period. A process of transformation runs through the whole story, which not only clarifies the cause of the incident, but also slowly resolves the confusion. It can be described as "abandoning small to big".
(2) The shot of Marty swimming "lost".
Using the method of follow-up with great visual impact, in an attempt to use "movement and accompaniment" to achieve a closed dream for the character and the audience. For Marty, this is also a way for him to escape his inability to solve the relationship with Maxi. Like all people who are confused in their romantic lives, the film does not attempt to shape the "comrade particularity". It succeeds in the pursuit of true self. I think Dolan has done a good job at this point, at least better than many stereotypes. Gay movies are accurate and detailed.
(Iii) The "voyeur" lens opens the "rear window".
The visual experience of shooting in dark places with rules and bright places is very peculiar. The film has appeared many times. The window where Marty and Maxi stand together, and the side window of the kitchen where the two people’s emotions are accompanied by raindrops, the latter is accompanied by this kind of voyeuristic nature. The deep and shallow focus shots contrast with the two men’s cautiously probing moods. The audience also has a release of voyeurism following the shots, which to a certain extent makes up for the visual blank of the kissing shots.
(Iv) Pan the camera.
It happened at the same time as (iii). When Marty found the room where Maxi was in every possible way, Maxi was not shown in the camera, but through Marty’s reaction: small movements, sneak peeks, leaning on the door, snickering, We can guess that Maxi is here, and then a panning shot saw Maxi sitting on the table. Because of the psychological expectations of the audience and the atmosphere, the sharp change in the relationship between the two is reasonable.
I want to spend this weekend with you, next weekend, every weekend.
I hope to see more of Duolan's works, and the burden on the shoulders of the young director (who still wants to call it that way) is really not light to be honest.
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