As a senior pilot, I knelt up and kowtoed at this film. The benevolent sees the benevolent and the wise sees the wisdom, but I am definitely going to make this film as a flying film. From the beginning to the end, every pore filled with the psychedelic flavor of the 1960s. Whether it is absurd or dramatic, the film reminds you that this is a spiritual journey. Most hallucinogens in the world are catalysts for the dialogue between wizards and souls in the tribe. They are not for entertainment, but for enlightenment. Respect the sensitive characters! Tribute to Sensitive Character 2! Tribute to the sensitive character three!
Each carriage, a period of life. This journey was facilitated by the boss returning from a trip to the underworld. Of course, his mental realm was different from that of the two sensitive and weak brothers. These three treasures make this film that should definitely be regarded as a literary film quite memorable, but the metaphor is still more realistic-things that are done desperately are often meaningless, and the destinations to go to are often disappointing, and I want to go. The place will not happen—this is the same for sons and mothers, but they will only vent their emotions on the mother and blame her for her ruthlessness. In fact, I really like this mother who is a little bit clumsy, for the sake of spirituality to throw away the reality, although I do not agree with her practice of preaching Christianity in Tibet. In fact, his mother had long been thinking about the world. It was God's will. It's better to be casual. The three brothers didn't understand until the end. I happened to be tired of looking at more than a dozen blazing boxes. I still remember that when his mother said that we might as well communicate in a more useful way than talking, those few silent close-ups made my heart beat very powerfully.
Because I have been paying much attention to technical activities recently, I add a few more notes. The first sentence is that my wife fucks likes its color, which is more gorgeous than Almodovar's tone. I have always been a fan of ethnic style, and I was too smart to choose Indian culture to make this film. I can take care of both inside and outside. In fact, just a few hours ago, I just thought that many of the films seem to turn down the saturation level instead of up, so a dahlia will come right away. Knowing that this film is the director paying tribute to a certain Indian film master, it seems that I should visit it. The second sentence is that it uses a lot of long slow motion, I don't know I thought he was shooting MTV. I wonder if the director's use of so many slow motions is intended to aggravate the weight of these images flowing in the minds of the characters. I think it's too formal, and it's a bit repetitive. The third is that his music is really good. I think Wes Anderson's taste is good in several other films. There is nothing else to say, I'm just a little surprised that he actually found so many superstars to give him a trick, New Year's film?
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