Not many movies have been watched in recent years, and far from an expert in this lively field. By chance, I saw a movie that was just right in my heart, and I couldn't help but talk about my views as a layman.
From the intuition of a non-art professional, classical art suffers from "work", and this kind of "work" makes freedom difficult, and it's hard to say whether this difficulty is really necessary. Modern art is again injured in "concept", making art more and more a "thinking activity". Freedom seems to be no longer a problem, but the freedom of thinking is obtained, but the depth, richness and layering of feeling are lost. So when I walked into the art museum, I felt like this: Modern art exhibitions seem to have a lot to say, but in the end, there is nothing to say; classical art exhibitions don't have much to say, but they can still make people stop and stop.
When I walked out of the art gallery and walked into the cinema, it seemed that there was no question of whether to stay or not. Cinema as art is mostly like a combination of "work" and "concept". I guess the idea of a lot of movies is to find the "concept" (a good story) and then spend a lot of money piling up the "work" to make it happen.
The film "Loving" made me see a mature aesthetic pursuit. The director seems to be particularly aware of what he is going to do, focusing his energy on the things he is concerned about, while the rest is relaxed, natural, unintentional, and even modest.
In some movies, every picture is cut out, every sentence is expected to be amazing, and every plot is beyond the audience's expectations, as if triggering this work is not a wish, but a bunch of desires and Fear: I want a good box office, I want a good reputation, I am worried that the audience will fall asleep or leave, for fear that the audience will not be able to see their so-called artistic skills.
The form and content of "Loving" are very suitable, and what the audience sees is only the real life of ordinary people: casual home clothes, children running around, rough skin with wrinkles, simple daily perspective, moderation Lines - everything seems to have no "dramatic effect", and when the director's mind is no longer kidnapped by the "dramatic effect", the audience is no longer kidnapped by the "sensory effect" of the film, and the viewing process is relaxed and Flow, it is easier to enter the inner feelings of the characters.
In other words, when composition, color, light and shadow, plot, drama—these pleasing aesthetic noises are quieted down, the audience can instead see clearly from an expression, an action, a pause in time, an ordinary landscape. Overheard the silent communication between the characters. This relaxation and lack of effort is a kind of calmness: the creator knows that the important things are not there.
What is this important thing?
Adding a psychological perspective may make the situation clear: what affects the quality of relationships between lovers? Is it because the three views are different or the way of squeezing toothpaste is different? Is it a different class of origin, or does the zodiac sign do not match? Is it the parents who are interfering or the children who are not obedient? These angles can open up endless discussions and debates, but if you "mute" them, you might see a silent love flowing in some people's interactions and some not. Whether or not this flow can occur is essentially irrelevant to the preceding factors.
The director of Loving captured part of this flow precisely by reducing other "aesthetic noise". This fits into our daily life wonderfully: bone china or stainless steel bowls for meals, formal or casual clothes when going out, Apple or Android for mobile phones - apart from the need to identify identity and class, there may indeed be some aesthetic differences. When these choices occasionally surface in life, they may be an aesthetic issue, but when the attention is heavily involved, they become aesthetic noises that make it impossible to feel the flow of love—and this is the most fatal aesthetic loss .
Young people want too much and care too much about what others think of them, and a lot of desire, anxiety and fear are surging in their inner world. Some immature works are just the aesthetic noise that is driven by this accumulation. Mature people know what they want, don't care about anything, and also know that "everything" doesn't make sense. In their hearts, there is an alternation and overlap of focus and relaxation.
In terms of creation, they understand that an extra foot will prevent the viewer from seeing the snake - the more "beautiful" the foot is, the more "ugly" the work will be pushed.
So is life.
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