Did you say that to yourself? Such breaking, such entering?

This is a movie that keeps you talking. As each episode progresses, you'll silently say, yes, yes, or, oh no, Jesus, no. If any British film is like any British film, with its precise lines, full of puns and collisions of ideas, listening to them speak has become an art form in itself. The family quarrel at 35 minutes, a kind of domestic peace that the hero and heroine strive to maintain and the boredom caused by the endless care of the daughter finally starts to burn slowly from a dish, and you will know that all American movies always seem to be very delicate. There's a kind of evasion in the design, which is a bit irritating if it's an active care of the audience's comprehension. I decided not to watch any American movies for two weeks, let these two weeks of life be the last part of this movie, and enjoy it slowly. British directors have a natural ability to grasp the sensory impact of non-core factors on the audience, and their actors also seem to have such a talent to grasp every detail to the extreme. When the couple were arguing, daughter Bea's nervous murmuring and a fox's shrill neighing outside the window made the whole scene's appeal with an incomparable piercing ability, and your ears and nerves were subjected to a variety of stimuli at the same time. , you find yourself fully able to understand the kind of message the plot is trying to convey. That fox, if the torn clothes, model villains, Volvo cars, and laptops act as a secret clue throughout the film, is that a sound? Hysterical for a moment, but always subject to the plot and unable to break out, many such clues and stimuli are like a strong cocktail with rich layers, making your experience very three-dimensional and full from beginning to end, and intense, and what happens in it Nothing is too surreal in nature. Instead, these things develop and conflict in a realistic and cautious atmosphere, and a mutual mapping formed by the comparison with daily life makes you from another perspective. Feeling the pressure and irony of reality adds another layer to this strong feeling.


Rosemary suggested we should try this.

Where?

Rosemary, the therapist.

The amazing stuff about the effect that food have on mood and brain.

Rosemary?

Whoa.

Why every one take my saying a question?

I am trying to hold this family together.

Who are those mysterious people?

I feel I am fool from your mouth that I rely on the sun box because that's the only son that I can rely on in this house.

Hey, Liv, Come on, Live, what are you talking about?

Can we just try this? Try this like a family, for only a week?

We can decide together.

We can't decide together if we don't cook together, or talk together.

Or do anything else.


Is this a line? Is it a quarrel? is poetry.


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Of course, there is also drama and art, not just lines. Will and Miro's first encounter with mother and son, he and daughter, she and son, contacted because of towels (I don't know why the British have a fascination with towels, see the movie "Guide to the Galaxy" for details), two stories The lines are finally staggered. The prostitutes in British movies always have the temperament and prophetic insight of a philosopher, plus a little bohemian attitude to life, they have always been teachers of real men. Of course, there is also Miro, when Will is arguing in the car, and the camera is given from the back seat, bringing a compositional creativity that can only be achieved in movies to the extreme. The story is impeccable, the entanglement of the two lines is almost perfectly arranged, especially Will's family feelings, the ups and downs of the desperate and twisted arrangement several times make the rhythm of the whole film always passionate but solid, slow and hot, but Plenty of heat. The main line of the whole film is still love, but the difference between several different types of love and the object of love has long been the most basic literary conflict of the film, which has created the greatest attraction of this film and is easily resonant.


Britain seems perpetually entangled on three issues: the nation, the desire for love and the loss of family values. But in retrospect, which country is not the case? But how many can do such a concentrated analysis? It is true that the final outcome is regressive. It did not achieve the little dispute between artistic enjoyment and moral judgment that an art-developed society can bear. Personally, I think it is a kind of pity that does not make much sense, although it has achieved a Relatively high subject, but sacrifices a large part of the art. Of course, there is also the passion of the British, who can never hold back and destroy everything, always repent immediately and try to make up for it, and always pursue self and respect for others, but never find where that thin boundary is.

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Jude Law and Sarajevo's female counterparts are the most notable. But there are no amateur actors in this film, everyone is dedicated and brilliant enough, and I'm satisfied. Jude in "Closer" is a slave of desire, nothing good, this movie saved him, at least for me, even though in this movie he's still a slave, but an effort of love, so Much better to forgive. In fact, this character is the only weak person, just like a man in life, too many times he has to rely on some self-righteousness to support himself for a long time, and give himself reasons to do different things. He never lacked the passion to kiss a woman suddenly, which reminded me of being young. Europe never seems to be short of good female actors. In the film, Mirsad's mother is an immigrant from Eastern Europe, and they always have their own unique way of speaking and living in English-speaking countries. They always use the subjunctive too much, roll the tongue too much, always speak in their own language rhythm, and at the same time, when they are excited, they will immediately switch back to their native language, using those incomparably gorgeous pronunciations and complicated rhythms. Mouth movements to express their anger and ecstasy, they are geniuses, and when they get excited, a movie star is born. They are hardworking, brave, and always have a kind but rebellious son. These sons are always talented and dazzling. The sport that Miro is engaged in is exactly a new sport I introduced to you in many classes half a year ago called Urban Sliking, also known as City Dash. The athlete does not use any means of transportation and uses techniques similar to gymnastics to walk through. Due to the various terrains in the city, there is no problem even jumping from several floors. They go forward bravely and nothing can stop them. However, the rendering of the sport in this film is not very good, but since it is not the focus, it does not hurt.

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There are some things in the film that are not explained. The whereabouts of the prostitute and the appearance of the piano keyboard seem to be missing. I don't know why. There were also some conflicts that didn't develop. For example, Miro was surfing the Internet while shopping in the supermarket. Once they met, he didn't know what would happen. The director here was already more willing to do something. The screen switching back and forth a few times didn't have any consequences, fortunately. There is no lack of plot in the film, so there is no obvious break.

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The only unburdened afternoon in weeks, I gave this movie a break for my life, and tomorrow, will re-enter my life, and suddenly found the name of the movie, "Breaking and Entering". My heart is tight.

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