Brief political and shooting background , read to help understand.
My overall impression of "Shame": the drama is full of power, and the tension of the characters' relationships is designed. As the plot develops, the character relationships are constantly changing.
Take two typical characters to see religious and ethnic conflicts, use court drama to peel off the texture of conflicts and disputes, and use the relationship between husband and wife and father and daughter to reflect the attitude of the times (whether it is possible to turn the chapter), this kind of plot with events as the core and viewpoint output as the purpose The film must make some compromises and sacrifices in the authenticity of the characters, and there is no need to criticize it.
Talk about what I think is more brilliant:
1. Argument. The confrontation between the pigeon daughter and the owl father in the courtroom is quite interesting from the point of view of the debate. The short father's lawyer acts very vigorously, exaggerating and condescending to please the judge.
2. Between characters and characters, events are connected with events, and conflict settings are set inside. Basically, a slack will be followed closely, conflicts are very dense, and there are only a handful of peaceful episodes. But these are all routine operations in the end, and it's not that shocking. The stakes are escalated, and the climactic ending is vying to be victimized here, and it is more durable to get a punch. On the one hand, you can think that it is the scheming of the Palestinians from the perspective of self-protection, or in fact, the lethality of language and physical harm cannot cancel each other, so it must be done. They are both victims and perpetrators. No matter how much understanding and empathy they have, they are unable to open their mouths to say a sincere apology. The rage will go up and down, and they will surely win back the punches with the same insult. The insult becomes the victim's insult - worse? You do not deserve! ——This solution is somewhat anti-character, but this should be the base point determined at the beginning of the plot. Sitting here, the symmetry of the form will be stabilized, and the grievances will be repaid.
3. The comparison between court and court. When the needle-pointed Maimang in the court was uneasy, the two of them in the court opened the door and repaired the car. I know it's pretty ingenious, but it's also reasonable. Especially when compared to the previous one, what exactly is this contention, and who is fighting, it is interesting - although the thinking behind the chess players has not been deeply and delicately discussed, it seems that it is just politicians and thugs. But there is a bit of "playing a hostile role" behind the two.
The film's director and screenwriter, Ziad Doueiri, experienced hostile trauma as a Muslim and fell in love with a Christian woman, and the subject matter should be heartfelt. Interestingly, he also worked on Pulp Fiction, Reservoir Dogs, and Dead Twilight as an assistant cameraman... ^ - ^ I think his pace is a bit rushed , constant hobbies and conflicts, and obvious leading motives, which is one of the reasons why it is easy to be regarded as a far-fetched drama.
As for Kamel El Basha's performance style, which he doesn't like, it seems that he is more likely to be favored by film festivals by showing an introverted "receiving" role in a work that "rushes" more vigorously than the rhythm and performs "release" more wanton. Well. For example, the male supporting Mark Rylance in "Bridge of Spies".
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