(Text/Sangkakoff) In this list, the "Love Is" series is the most literary trilogy. In the three films with the same length of jet lag, the hero and heroine grow up with the time we wait, making them as kind and accessible as a friend around us. The artistic atmosphere comes from the independent spirit. As one of the most successful independent filmmakers in the United States, Richard Linklater established his own unique style and self-system construction with his unique "talking about love". Those who are always chattering like a diagonal play, follow their footsteps to record every line of dialogue, and in the background, the scenery like a city travel documentary, forms a unique beauty under the lens, and also makes the film limited. The length of time extends infinitely in thinking. Compared with Antonioni, Rohmer, and other European predecessors who also like to use dialogue, Linklater is like a group of friends in a wine shop. Compared with the academic discussion with a group of intellectuals full of technical terms, it looks neat and tidy. Still wonderful. The attraction of the "Love Is" trilogy is how much you understand, how much you understand, and how much you lose from their never-ending dialogue. When you are young and frivolous, you think that the world and love are in your hands. When you are middle-aged, you are overwhelmed by family chores. Changes in context bring spiritual redemption at different ages. The tacit understanding between the three main creators and the spark-filled exchange of inspiration make people always look forward to the arrival of new works in the next nine years. Richard Linklater's latest work, "Boyhood", spent 12 years tracking the protagonist Ira Coltrane every summer. From the age of 6 to 18, the director once again used a timeline that was in line with reality and the patience that Hollywood could not afford to complete a miracle movie with zero negative reviews. This is the charm of independent production and non-commercial films, and it is also the reason why European films and American independent films can still survive in the cracks under the indiscriminate bombardment of Hollywood's invincible film industry assembly line. Perhaps, this is also the most lacking thing in the ostensibly thriving Chinese film industry.
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