Top2 in 2019.
I admit that before I watched "ad astra" for the second time, I already had expectations for the whole film. Including wanting to relive the journey to Neptune in the middle part (experience), and add some plot details. The reason why many movies cannot withstand the second brush is that they will fulfill the above expectations. That is, the impression of "none" when viewed for the first time is converted to 0. But "none" is 1, and 0 is 0. "Ad astra" has not become zero, it still has a lingering rhyme for me.
Is "ad astra" an experiential movie?
We dislike experiential movies because experience is a game. Movies can have programmatic processes and structures, but movies are not games. The "after-image" produced by immersive games is weak or not, and it is difficult for us to construct a part of the personality in the game experience. If there is, it is a tendency to divide.
The dissatisfaction of watching "ad astra" for the first time stems from the plot laying of the first half. We saw how the movie constitutes an almost cold character, the process is trivial and simple. (Of course we learned later that the character image is completely internalized, and the whole movie collapses into the externalization of a person, so we understand the sense of flow in the first half) So, from the first half to the second half, what is the content Filling? I am very happy to notice how my physical state is connected to the movie when I watched it for the second time.
About 10 minutes later, I had completely entered the movie situation, and my body was sagging. What kind of shots are the movies playing at this time? The surface of the moon where Roy fell from a high altitude and drifted while driving was full of broken, unconscious language.
This is the language of movies.
Think about it, in Arnold's movies, such as "Wuthering Heights", we can immediately notice the closeness of the lens to the "object". We would say that this is her "movie style", her usual way of expression.
It is true that in a movie about the love between men and women, it is inevitable to focus on the faces of the characters, but the next second will immediately focus on the trembling vegetation and mountains. This is firstly dominated by the director's consciousness. However, the grass, trees, and mountains have produced consciousness under such artificially manipulated lens. For the audience, this is an unconscious consciousness. The uniqueness of movie language lies in this.
In the movie, the unconscious consciousness of random things in the real world is suspended.
At the 30th minute, I began to think about the confrontation between the body and the film and the director's consciousness during this period of time. First of all, actions and sounds are non-innovative. Secondly, this movie does not do a "shuttle" action, but a "handling" action with roy as the core. Even though, when we saw Neptune's blue light shining on our faces, there was an excitement of arrival. But then, roy returned eventually. His goal is not to accomplish the mission with the best of both worlds as shown in the plot, but rather, he did a circular motion. This is the ultimate mission of human life.
The ending is indeed discouraged. Just go to the flashback that appeared before the link. But memories are the structure of the film, not the inner part of the chase, which is the uncertainty of the director's tone.
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