The painting starts out empty, then black and white, then colorful, but chaos turns to chaos, then nothing, in an endless loop. The so-called doomsday is just a hidden worry. Today is an unprecedented colorful world, colorful but chaotic. We can easily get any information, but there are very few things that we can actually touch with our bodies. It seems to be alive until death. Director Ferrara's expression has always been like this. It's not about pretending to be B. At least he lives, thinks, wants to live better, and expresses it in his way. That's fine, it's very real. As for the filming technique, he was thrown into the prison of an independent director anyway, and it is normal for him to be criticized and have mixed praise and criticism. But I personally really like his shots, the gentleness and warmth when they are gentle, and the sharpness when they are tense, always just right. From the most usual theatrical rules, his narrative rhythm has always been scattered. In fact, at least I think this is a question, as an art creator, should we communicate with appreciators? If you plan to communicate, what attitude and method should you use? To cater to nature in every possible way has no dignity, and the work loses its character. On the contrary, it is too self-indulgent, so that most appreciators can't get a clue and can't enter the work, and it loses its expressive meaning. This requires a degree of mastery. It is necessary to speculate on the psychology of creators and appreciators, and to weigh the pros and cons. It is also necessary to lack technical support. It is impossible to win it in ten or eight years. I watched "The Way of Playing Beyond the Routine" a few days ago, and now I think that if I read more works by independent directors, I don't need to read that deceptive book. However, when you break the routine, you take risks. Difficult to do both.
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