I have been in Beijing for nearly a week. As soon as the two sessions ended, the smog made a comeback. After get off work, I hid in a rented room full of sewer odors, rolled up the quilt, and opened the movie. There is only one person watching on the beep station, that is, me. Barrage is almost zero. The film opens with a frontal close-up of fifteen-year-old Miyazaki Aoi. Her facial features have never changed, even though seventeen years have passed. Some people's faces may not be recognized by old classmates after seven years. She is one of my favorite Japanese actresses. I'm jealous of her smile. When she laughed, she could only use the word bloom to describe it. The corners of her mouth, the corners of her eyes, and all the edges and corners of her face can simultaneously bloom with innocence and childishness without a trace of impurities in an instant. It's a pity that in this debut, she never smiled once from beginning to end. because the role requires it. It hurts my heart. Yakusuo Hiroshi, very famous. Ashamed to say, it was the first time I saw his movie. After watching it, I feel that I am not qualified to evaluate his acting skills. In fact, the key to this movie is not the performance of the actors, but the camera and the language of the lens. The nostalgic tone of Meitu Xiuxiu that runs through almost the entire film made me want to give up watching it at the very beginning. Fortunately, I endured it. After about half an hour, my retina was almost used to it. Later, I found that it makes sense to use nostalgic tones, after all, pure black and white has higher requirements for light and shadow. There are also quite a few paragraphs for shooting night scenes. After going through Fanny and Alexander's baptism, three hours is nothing to me now. However, when it was less than 100 minutes, I still fell asleep unsatisfactorily. It is estimated that the work consumed during the day was too much. It was five o'clock in the morning when I woke up, I restarted the stagnant screen and saw the end. For road movies, my favorite is probably the Brazilian film Grand Central Station, and Wenders' Paris, Texas, which is also very impressive. This movie set off on the road two hours after the main film, so it can be regarded as a road movie. Telling stories of escape is always the most welcome, probably because I'm a deviant at heart. Whether it's escaping for the sake of being wrong or escaping for freedom, the act of escaping always gives me my first instinct: it's right. If there is no change, it will sink. Although the word escape may seem negative, it is actually incredibly optimistic. From the moment you leave, it proves that you want to seek change. Those who do not have expectations for the future cannot choose to escape.
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