"Summers Town" is another British director Shane Meadows following "This Is England" to describe the British mainland. The plot is not complicated, full of realistic life, and with some Paul Fraser is the screenwriter of the film and the personal experience of Shane's many years old friend and childhood playmate. The movie depicts Tomo, a boy who ran away from Nottingham, and came to Sommers, a remote town in London, to meet Marek, an immigrant boy from Poland. Marek hides the penniless Tomo at home without telling his father who worked on the refurbishment of the St. Pancras train station. The two walked in the streets of this small town, earning pocket money from the cunning uncle Graham, and fell in love with Maria, a beautiful sister from France who works in a cafe. The film does not have too much ups and downs, but it has all the flavors. In the real environment of Summers, Tomo and Marek's youthful confusion, loneliness, fearless happiness, and youthful obsession, like the first-born sunshine in the prologue, are gorgeous but changing and full of instability. The personalities of Tomo and Marek are in contrast. Tomo is reckless and loves present, wants to escape the shackles of the family and is not satisfied with his current situation. Marek is introverted and seldom spoken, and has a deep attachment to the family. The divorce of his parents makes him passive and negative. They gradually moved from being unfamiliar to a whole, making up for each other's shortcomings. After Maria went back to Paris and had a broken-hearted drunken ruckus, the two of them had the same connection point. They had more or less wiped away the sense of loneliness and isolation of each other's wandering foreign land, and began to grow up dependent on each other. The small town of Summers as a big background is a gathering place for low-income people in London, full of local poor and migrant workers. As an immigrant town, this sense of rootless loneliness is the bitterness of migrants. They live in government low-rent housing communities and are looking for jobs within their own capacity. The poor who moved from the urban area left the mainstream society and gradually became marginalized. The area they live in is like an asteroid placed far beyond the galaxy, separated by distance, and even by different nationalities and cultures. In the film, Marek faces the question of why his father brought Tomo home to live, saying "You go to work during the day and drink alcohol at night. What can I do by myself" and other inner observation perspectives, showing the desire to communicate. This is also the film Take the point and surface expression. In the film, from Marek's house and Uncle Graham's shop, I have seen the refurbished St. Pancras train station many times, and Marek's father is also working on this construction site. This 130-year-old Gothic building was originally an old railway station with a landmark of London, but this antique building has gradually lost its function. Until Eurostar chose it as a new stop, after more than 10 years of reconstruction, it has become another connection between history and the future, and the intersection of city and city. Go to Paris as Tomo The dreams of Marek and Marek are hanging in front of them, and their growth is waiting to be carried out in sync with the train station. At the end of the film, they took the Eurostar and found Maria from the newly built St. Pancras train station to Paris and started a new journey. This radiating connection point strengthens the theme of communication and finding emotional hubs. The whole episode is presented in the only 5-minute color film in the whole film, and it is like a dream-like happy time, bursting out a bright future that delights the unknown dream. At the same time, Shane Meadows also completed the shooting work of Eurostar, which was originally an advertising project, at a high level, and also unearthed the humanized emotional marketing points of Eurostar, which is better than the night. Of course, this also benefits from Eurostar's total investment purpose of letting go without interference. Only by giving the artist maximum space can the original art of life be restored. The whole film flows with the aesthetic tone of the new wave. Real scene shooting with a lot of natural light, long lens, follow-up documentary technique; authentic, simple performance and improvisation; non-academic director style, completely personal; the relaxation and rhythm revealed in the whole black and white tone The power of control and the typical structure of two men and one woman in "Juul and Jim" all remind people of the film's reform era, which is somewhat of a tribute. And there is another outstanding character in this film, photographer Natasha Braier, some of the shots are breathtakingly beautiful. (I will talk about the color content separately afterwards) Meadows also completed the shooting work of Eurostar, which was originally an advertising project, at a high level, and also unearthed the humanized emotional marketing points of Eurostar, which is better than the night. Of course, this also benefits from Eurostar's total investment purpose of letting go without interference. Only by giving the artist maximum space can the original art of life be restored. The whole film flows with the aesthetic tone of the new wave. Real scene shooting with a lot of natural light, long lens, follow-up documentary technique; authentic, simple performance and improvisation; non-academic director style, completely personal; the relaxation and rhythm revealed in the whole black and white tone The power of control and the typical structure of two men and one woman in "Juul and Jim" all remind people of the film's reform era, which is somewhat of a tribute. And there is another outstanding character in this film, photographer Natasha Braier, some of the shots are breathtakingly beautiful. (I will talk about the color content separately afterwards) Meadows also completed the shooting work of Eurostar, which was originally an advertising project, at a high level, and also unearthed the humanized emotional marketing points of Eurostar, which is better than the night. Of course, this also benefits from Eurostar's total investment purpose of letting go without interference. Only by giving the artist maximum space can the original art of life be restored. The whole film flows with the aesthetic tone of the new wave. Real scene shooting with a lot of natural light, long lens, follow-up documentary technique; authentic, simple performance and improvisation; non-academic director style, completely personal; the relaxation and rhythm revealed in the whole black and white tone The power of control and the typical structure of two men and one woman in "Juul and Jim" all remind people of the film's reform era, which is somewhat of a tribute. And there is another outstanding character in this film, photographer Natasha Braier, some of the shots are breathtakingly beautiful. (I will talk about the color content separately afterwards)
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