The regular composition and overly restrained performance correspond to the chattering incantation at the beginning of the film, and the extremely gentleman's French is attached to the smooth rhythm, which together create a sort of religious feeling that is repressed and repressed, showing the director's control that is similar to fear. want.
But that's not all.
In the overflowing relationship between young men and women, the burning desire is surrounded by uneasy fear, and desire often saves the sense of loneliness, and then is castrated by the sense of alienation. Every relationship is like a picture of a river with a knife trying to kill. The deep night sky and the dark sea are connected by a line, one side seems to be intertwined, but in fact the two ends are permanently placed. A world apart forever.
As for the crowd - only oneself is not allowed, so "aphasia".
I often think of scenes from this movie, perhaps because it resembles my favorite Fallen Angels, but it's the exact opposite. Retelling the similar dilemma from the perspective of equal extremes, that is, the world of spiritual alienation of young people in Paris and Hong Kong in the 1980s and 1990s, further aroused the fantasy in my heart that I no longer see the regret of life.
I no longer see the regret of life, the most ferocious rupture of the twenty-first century.
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