Unexpectedly, a director who was not too cold in college, his color film, which is not a masterpiece, brought such a big shock.
I always thought that some feelings can only be given by literature, such as the description of human nature in "A Dream of Red Mansions" that makes people feel cold. And vice versa, the depth of the screen space presented by the film is also not available in literature.
But goddamn it, Godard did it. I have never seen "Contempt" so savagely break the boundaries of literature and film. Why does he dare to shoot such delicate, abstract, literary emotions?
The conversation between husband and wife is too long-winded to be long-winded, but every sentence is like walking a tightrope, watching them split and combine in vain, just like you and the people around you.
Symbols such as "Ulysses Returns to Homeland" and "Wife Runs to the Sun in a Boat" are played without abruptness, and the scene shocks you to tears.
Not to mention the complex scene scheduling to cure obsessive-compulsive disorder. God knows how long it takes these stars to rehearse?
When I walked out of Vientiane World, I said to my friends: If I hadn’t come to Shenzhen and entered the cinema, maybe I would have the patience to watch this “Contempt” in ten or twenty years, or maybe I would never watch it.
In "Contempt", I touch something like "the boundaries of cinema", there is no photographic composition, cinematic semiotics, dramatic conflict, it is a direct dialogue with the essence of life, who you are, who you see.
Scenes of images, punched on the body, reminding human beings that they are like birds: abundant emotions, so many stages of life to be completed, but all over the body are weak, you can open the drawer and find a paperclip, you can defeat it.
Those great works, the passages that point directly to the truth of life, are often not greasy philosophical...
Maybe it's just a look from his wife.
Probably just a snowboard.
Or, a blank sheet of paper.
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