When Tom Ford met David Fincher, he presented the "Prisoner" of "In the Mood for Love". On the one hand, the whole film seems to use only stylized descriptions of one emotion, not only the beauty in the form but also the beauty in the inside. I have only seen this kind of artistic level in Wong Kar-wai's "In the Mood for Love": Delicate and Sophisticated, Slow Down On the other hand, the narrative and atmosphere of highway violence, the cross-reflection and multiple intentions of the three timelines, also show Tom Ford's ambition and execution far beyond the "single man" everywhere. Li: He is never reconciled to being an accomplished artist or a quiet art film director. The biggest fashionistas know metaphysical art best, and abstract art with a strong sense of form can be found everywhere, and Ford's greatness lies in being able to get rid of the emptiness and obscurity and successfully sublimate it into a cinematic sense within reach, after all. In the upper-class fashion circle, he knows the difference between forceful and forceful. The composition, color, photography and art direction with a sense of design definitely make people believe that this film is from the hands of art; and the script, actor training, direction and control make it hard to believe that this is just YSL and Gucci The designer's second crossover work. The photography is very strange, it is always a person who is alone in the frame; the soundtrack is very good, the beginning is low and blurred, the middle is surly and alienated, the climax is uneasy and oppressive, and the ending is mournful and sad, worthy of a high-quality art finger; male The actors are too strong, the wide-opening Jack, the poker-faced Shannon, the refreshing Aaron, and even Michael, who can count in seconds, are all impressive; in comparison, Amy, who has a heavy role in the scene, is lackluster. It has already been exposed in the star-studded "American Hustle", not to mention that this time there is Linnie who stole all the scenes after only one appearance.
Amy's unsatisfactory performance brought the biggest shortcoming of the film, which should have been the intersection and overlapping editing of the extremely brilliant reality, memory, and play within the play. Because of Amy's lack of performance at key connection points, not only did it not stand out. It is also inexplicably rigid and rigid, becoming a counter-example of "performance affects editing". The second disadvantage is that it neither achieves the high degree of formal intention of "In the Mood for Love", nor does it achieve Finch's superb narrative ability. But fortunately, one person can mix the seemingly contradictory two together, which can not only make the unprovoked violence on the remote road show a sense of surly roughness and absurdity, but also make the Abbas exhibition of the upper-class gallery look like an exhibition. The descriptive sense of ritual is super strong, and the stylization and visibility are amazing. It is the most outstanding thing about Ford, who knows the best fashion in the director's class. Only this point, 5 stars!
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