Aresa's adolescence is strung together by one small event, one small segment of frequently changing compositional shots, with one ritual or another gathering in the middle. Narrating the past, like a scalpel, the movements are fast and clear, and there is no panic at all. But this scalpel is not for dissection, but to cut off small pieces of meat to show you, and say, how fresh. Thinking of this, my stomach suddenly hurts. Did the stewed beef brisket hurt your stomach yesterday? According to the secret recipe, I put a little vinegar, put some tea leaves, added more ingredients, and simmered for three hours. The stew was very rotten and delicious. Whatever you do, you need to enjoy it, and you don't have to spend time and effort.
I looked at the DVD player, and after only 33 minutes had passed, Aresa had already committed her life to Fermina. Fortunately, I have read the book. After all, the movie is different from the book, although both are watched. Having said that, I don't remember the details in the book, but the three characters are vague in appearance, but deep in image. It's a strange feeling for a blurry person to suddenly become clear in a movie screen. I don't really care whether the film is well adapted or not, because unconsciously, what is missing in the film, the feelings outside the text of the novel are automatically filled in in my mind. Mostly based on what we see on the surface, unless we understand it very well or observe it carefully, all we see is the shadow of a trance. What's more, compared to the novel, on the external level, the film is too delicate and romantic. This is called putting the cart before the horse. The roughness of the "reality" depicted in the novel is contrasted with emotional forbearance and a thousand twists and turns.
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