When a movie is embedded with a plot like a character’s oral story, it’s hard not to connect the embedded story with the overall story of the film, and in most cases, they will form a textual counterpart. As Yoav sings the Marseillaise passionately, he is like a soldier beckoning the other non-Frenchmen in the room to join him, and then he goes to work in a soldier's clothes, if he corresponds to Hector The protagonist of the story, the next development trajectory may be like this: He was hurt by the natives, lost face, and his father took him back to his hometown. But no, he is not only an outsider to France, but also an outsider to his own story.
Yoav and Emile form a contrast between little hunger and great hunger, the latter giving the former money and clothes, and asking for creative ideas. What Yoav needs is to survive in a foreign country, Emile does not worry about food and clothing, what he needs is the meaning of survival. Yoav said he wanted to take his mind back, but the stories he dictated never came out since he had nowhere to use them - the hierarchies were insurmountable, and people who didn't solve their survival problems wouldn't have the heart to feel the oboe melody; existence; Before everything else, seeing the violin and the strings presupposes that the trigger of the gun is not pulled.
It can be seen that Yoav was stripped and masturbated, and the person shooting him pressed step by step from an ambiguous angle, but Yoav did not get the same pleasure as the heroine at the beginning of "Zoom", not only because he had to speak the Hebrew and "Never masturbate", also because it is really difficult for him to obtain sexual pleasure in a foreign land. The film does not shy away from the display of the body, but it is almost absent in the sexual behavior between the male and female protagonists, and there are reasons for this.
Whenever Yoav walks briskly on the street while muttering French, the camera always moves up and down, left and right freely and erratically. If this is the perspective of Yoav observing Paris, the end of the shot often turns to his face. On, how can this be explained? Rapide has already explained it to us - when Yoav was on a video call with his father, his father first showed him the environment he was in, and then returned to his face, which is a tourist perspective, a perspective of being out of the way.
The dialogues in the film are still more elaborate, there is no weird camera, except for this one:
Usually, where the characters look, there is more blank space, but this shot is the opposite. This shot can be called "blank is reserved for ghosts", because it is very suitable for horror movies, and there is suddenly a scary figure behind the character. Something pops up, why there is such a shot here, I don't want to understand, if you have a good interpretation, you are welcome to come up with it.
From the knock on the door at the beginning to the reappearance of the phenomenon at the end, the outsider is an identity, which means that he has no identity in France. Perhaps it is as a bystander that he realizes that France and Israel are just synonyms, so At a moment like this, it's all the more ironic that everything is escaped and briefly accepted.
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