I also foolishly recorded the number of shots, all of which were scribbled and used indiscriminately.
After all, it is a relatively early film of Beratar, and the long takes are not particularly stylized, and the parallel editing in some places does not belong to his lens philosophy.
Every time I watch his films, the muffled background noise and timeless melody always help the stagnation and slow footage create an atmosphere of loneliness and despair. It was this vibe that caught my eye.
But some of the long shots in this one are quite powerful, and the lateral movement of the filming crowd may have provided the basis for the opening of the herd in "Satan Tango"; the scheduling of the two shots of the three thick columns is very wonderful, and the object blocks the person and then appears , and has anaphoric repetition and change. The male protagonist ends up fighting a dog in the rain and making a profit, showing that humans have become insane under the torture of the empty force of desire and morality.
Sometimes I feel that his films are extremely formal, which is a legacy of history. Based on my film concept, the story will always come first in the film. But Beratar's films, apart from simple stories, have enough power to express more ideas.
The record of a man standing against a wall defying or waiting or peeping and walking already has epic power.
I hope Tal will make a new movie.
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