There is also such a person in Chinese movies: Wong Kar Wai. Therefore, when Jarmusch made "The Limits of Control", he also chose Du Kefeng. In a film where the story and plot are not important, the picture or image plays a major role in setting the tone and rhythm of the entire film. Du Kefeng proved that he can photograph Wong Kar-wai's Hong Kong or Shanghai as swaying and blurred, and Spain as dreamlike. The difference is that, like the protagonist, the shots of this film are mainly still, and there is no more dizzying feeling before.
It's thankless to discuss what a film like this has to say, and I think the main thing is that the film creates an atmosphere, very alienating, very quiet, very slow. You can also say that this is Jia's version of "Chongqing Forest".
Both films are crime themes, but neither of them focus on the case itself. They both use the identity of the special occupation of the killer to draw the audience away from the familiar life, emphasizing the distance between us and others. And the difficulty of getting to know each other from person to person, in addition to making an excuse for the whole journey. The difference is that Wong Kar Wai has more clues.
The characters in the film, when we look at Tilda Swinton's style, we will think of Lin Qingxia's golden wig and the famous paragraph: I don't know when it started, I became a very careful person, every time I wear a raincoat I always wear sunglasses, you never know when it will rain and when the sun will come out. The killer's obsession with two cups of Espresso can correspond to Takeshi Kaneshiro's obsession with the canned pineapple on May 1st. Jarmusch's naked girl and Faye Wong's infatuated girl can also be compared to each other. The difference: Jarmusch's character is quieter, and the killer has no monologue at all, leaving you with no idea what's going on in his head. However, if we look closely at the self-talk in front of him by several people who are in contact with him, it is actually related to his alone visiting museums, listening to music, and watching flamenco. Perhaps, this is a Jarmusch-style monologue, but every time it comes from someone else's mouth. Maybe all this is a dream. As at the end of the film, he takes off his labelled suit and puts on the most casual of tracksuits, pointing out that the past period of life has been very unreal. Everything we see may just be the fantasy of a very person wandering in a daze on a sunny afternoon.
Just as Du Kefeng captures the essence of Hong Kong, Spain in his shots may be our impression of that country for a long time. On the train, we saw the vast countryside, rolling mountains, changing forests, day or night; in the cafe, we saw narrow streets, empty squares, flocks of birds flying; In the three places I have passed, there are the noisy sirens of the city, the sparse human language of the small town, and the quietness of the countryside. This is richer than the cramped Central and Tsim Sha Tsui in Wong Kar Wai's eyes.
Watching the two films together has the feeling of watching "Qinhuai River in the Sound of Paddles and Lights" written by Zhu Ziqing and Yu Pingbo. It is obviously a scene, and different people can have completely different moods. Style it.
For many people who can't watch it, taking out the "Chongqing Forest" at the bottom of the box and reviewing it may make this boring film a little interesting.
Blonde: Are you interested in films, by any chance? I like really old films. You can really see what the world looked like, thirty, fifty, a hundred years ago. You know the clothes, the telephones, the trains, the way people smoked cigarettes, the little details of life. The best films are like dreams you're never sure you've really had. I have this image in my head of a room full of sand. And a bird flies towards me, and dips its wing into the sand. And I honestly have no idea whether this image came from a dream, or a film. Sometimes I like it in films when people just sit there, not saying anything.
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Guitar: La vida non vale nada.
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Molecules: Are you interested in science by any chance? I'm interested in molecules. The Sufis say each one of us is a planet spinning in ecstasy. But I say each one of us is a set of shifting. Spinning in ecstasy. In the near future, worn out things will be made new again by reconfiguring their molecules. A pair of shoes. A tire. Molecular detection will also allow the determination of an object's physical history. This match box for example. Its collection of could molecules indicate everywhere it's ever been. They could do it with your clothes. Or even with your skin, for that matter. Wait three days until you see the bread. The guitar will find you. Among us, there are those who are not among us .
Lone Man: I'm among no one.
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American: How the fuck did you get in here?
Lone Man: I used my imagination.
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American: Is this your twisted idea of revenge for something?
Lone Man: No. Revenge is useless.
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Mexican: Sometimes for me, the reflection is far more present than the thing being reflected.
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Molecules: The Sufi say each one of us is a planet spinning in ecstasy. But I say each one of us is a set of shifting molecules, spinning in ecstasy.
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