From this perspective, if China wants to have a good movie, it is as difficult as going to the sky.
I am not a liberal arts student, nor do I know about film technology. I just watched a lot and listened a lot, and found that the lens of this film is very good. It feels like Hollywood and Europe are in harmony. I have heard that one of the characteristics of Hollywood lenses is to fix the lens in a closed space. The most iconic thing is that when two people are talking, the two lenses are fixed, and then the faces of the two people are interlaced!
One of the characteristics of European photography is that he is always moving. When a person is fixed, the lens is moving, or when a person is moving, the lens is also moving. Therefore, there are fewer Europeans who are shooting movies. The camera is fixed on him, and then he monologues this kind of fragments alone!
In Bourne Shadow 3, I noticed that the lens is always in motion. This is not to say that it is a sharp editing of an action movie, smooth exchange... but when the character is still, the lens is shaking, which produces a kind of surveillance. The feeling, especially when a few close-ups of Bern’s face were shot, the lens was also shaking.
But when two people are talking, they are still Hollywood-style alternating faces!
In short, it is very advanced, and I am very annoyed with this static, alternating lens!
In the plot, it feels unfinished. Someone said that good screenwriters always write half of the story and leave the other half to the audience. This is called blanking in Chinese paintings. There is not much blanking in this movie, but the remaining sound makes people want to watch Bourne
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