I think if the Americans make this movie, they may be able to turn the tide and let the protagonist retain their dying homeland with infinite sincerity; however, the French do not, they just want to keep the reality and go down the road. This is not without a touch for a viewer like me. When I was a child, the old house of my grandmother's home was no longer there. At that time, I almost always ran up to the second floor in one go, afraid of the darkness on the ground floor and afraid of my own shadow. As everyone knows, the dark image was originally a part of himself, but after changing to the brightly lit hall, there was nowhere to hide. After I was eighteen, I went home less and less frequently. The strangeness of the new house was too late to be cleaned up. It was left empty for a while, and then fermented. Until now, when I press the elevator, I don’t know how to move my feet. , I'm afraid that I will step into the air all of a sudden. In front of the window of the old house, there were sycamore leaves, the phone room where I slept with my mouth, the hut where my uncle was sitting and lying down on Go, and the study room for my grandfather. Today, all have become restaurants. Our home was originally big enough to open a restaurant. This is what I have learned from the dumbfounding. However, I have never been a round of diners, and I can avoid even that street. I can't keep the fetish, and I simply shrink up with it. This is my way of doing things all the time.
The expression of emotions in the movie is very restrained. The eldest brother Frederick, who is most reluctant to part with the old mansion, even the pain of losing his mother was vented and restrained by the hasty brakes. His younger brothers and sisters advocated the sale of the family, but he was silent, picking up a cigarette, and hiding. Going into the depths of the clouds and mist, weeping quietly, as far as the lens is, there is nothing but a black back. It is said that the character played by Charles Berling has the personal experience of director Olivier Assayas. He also lost his mother before filming, so right "Eternity and disillusionment", don't have a cognition. Belling played in "Nelly et Monsieur Arnaud" (Nelly et Monsieur Arnaud). I feel familiar, but I still waited until I turned over the cast. Then I watched "Les Destinées Sentimentales" directed by Assayas. It finally became clear why Assayas relied on this actor so much. He was always calm and unspoken, and his emotions were always suppressed. Ironed flat, and this is the usual attitude of people in life. Frederick was unable to save the tidal flat of the family. His reluctant and unreliable expression on his face slowly pushed out the direction of the play.
I thought it was not very successful, but Juliete Binoche (Julliete Binoche) who shaped the little girl. On allocine, I read some explanations of her role, and it is not difficult for her to play a little black sheep with a little rebellious and unique artistic vision. But I felt that I needed to rely heavily on her explanation to see the character's love for family emotions. Unfortunately, when we watched the movie, no one around us came to explain. Assayas seems to have some Wong Kar-wai's creations. In the loose script, he leaves a lot of freedom for the role. In other words, the actors sometimes need to direct and act by themselves. The part of Belling may be more closely watched, Binoche, Only the pragmatic and hard side is left, and her other important feelings are too vague.
It is said that this film was originally invited to celebrate the 20th anniversary of the Musée d'Orsay. However, the finished product not only incorporates Assayas’ family experience, but it also seems to have no praise for the affairs of the museum, although it overlooks the Orsay. A few close-ups are indispensable for the clock and the well-known, scattered and modern layout on the first floor. The delicacy of Assayas lies in the fact that he not only targets people, but also portrays the wandering of things. For example, near the end, a group of people followed the restaurant furniture department of the tour guide. There were young offspring who copied their mobile phones to date with friends. They had no affection for the current collection desk imported from Frederick's house, and they completely dealt with it. Parallel to this, Frederick and his wife showed up. They saw their own vase in the glass cabinet. Frederick was very touched and felt that the vase seemed to be imprisoned. It should be placed on the windy table and filled with water. , Planting flowers, so it is called its self-consistent life. As a gratitude, he gave another equally precious bottle to the loyal old servant Elois. The latter did not know the value of the vase, but in fact helped it to achieve the continuation of its destiny day after day. Therefore, this kind of treatment completely escaped from the respect for things, as if people were left behind, it extended to the tossing of things, and even sighed.
This slight stroke reminds me of the lingering thoughts when I read ASByatt's novel "Possession" (A Romance) before: Although it is connected to "Roman History", this topic can be used for sex. Possession is the solution, but possession also revolves around things-the content of the book is the contention between manuscripts and love letters: should they be hidden in the old house with the owner, or should they be unearthed, digitalized and exposed to the world, the British and American practices are completely opposite, and the readers also Can feel two emotions pulling. In other words, even if it is supposed to be immortal, an object that has been immersed in the soul may have been humanized, and it is impossible to have no worry at all. In the movie "Summer Time" or rather, "Recalling Summer Time", I once again touched this little bit of nowhere to settle, where is my home away from sorrow. As the saying goes, the life hurts the past several times, but Yamagata still feels cold, and it's not just people who are sad.
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