I was impressed by the director's method. He is very good at using props to complete secret narratives, using abrupt, reckless and unreasonable action trajectories to break the balance, harmony, tranquility and beauty of the picture, and even let some common phenomena be watched. It becomes grotesque and bizarre, and most disdains to interpret it in words, in order to establish the symbols he needs.
Yes, he abandoned the transaction between different contexts, there is no metaphor but full of symbols, it is just a kind of indirect image with a strong point-a slightly jerky redefinition of some conceptual symbols. To that end, he can dress the Champs-Élysées directly as a runway at Fashion Week, or simply imagine Paris as a disenchanted, superficial seasonal piece. Of course, he can also narrow New York to Brooklyn. The exaggerated footage sweeps the streets full of ordinary citizens with automatic rifles. In this scene, there is no gunfight and order is unusual...
These are merely stylistic connotations - oh, so it could have been exaggerated without being too awkward.
Strictly speaking, this is not a movie, but a spectacle and literary thinking with the help of fragments of images, a bystander (director) with a head on his shoulders without a word , thinking only revolves around the belonging of people: there are refugees in the world, but there are no citizens of the world, even if it is not delimited by land, the belonging of people should be unique, it is just whether you are aware of it and whether you confirm it. Race? Belief? culture? There is always an identity that is the root of your belonging. A golden sentence finally flashed towards the end: he is a Palestinian, no, he is not a Palestinian in Israel, but a Palestinian in Palestine.
This form is still more attractive to me, he is trying new ways to play. If you break up the reconstruction, you may be able to tell a more fascinating story than him, at least the story logic is stronger, but do you admit that we have come to an era of flooding stories, how can the real scarcity of this era be What about the story? That's the thinking of diving into the deep - diving into the deep without drowning.
I like the story of the hunter, the eagle and the python, the sparrow who strayed into the room, the scenes of Palestinian life, the New York policeman who chases the angel, and the New York taxi driver who waives the bill for the Palestinians...
But I really dislike the obsessive pursuit of symmetry in the Paris scene. The fun of retro isn't about using stereotypical behavior to create a comedic atmosphere, it might have been meant to counter the baroque symmetry, but I'm terribly sick of it.
Of course this is my personal opinion. The director of the film did not expect any "objective" evaluation at all.
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