, it is not a platform with Italian realism or Ozu Yasujiro's tribute) But in the final analysis, everything is just a compelling conspiracy story. A theme in which a man is in love and a woman is suffocated. George Clooney, present without any flowers, is more exciting than the best female partner tilda. ——These actors in the British Shakespeare tradition always remind the audience that under their restrained performances, they show a little dramatic reaction at the climax. Her is the one-second hideousness in the lines of "ten million", yes She was itching to show off her skills. It is also like Emma Thompson's last high pitch in "Sense and Emotion." In contrast, George Clooney's jokes about wonderful ghosts are steadily de-dramatized, and he really deserves the best male lead.
Restraint, restraint... I'm too Harry George.
From huge corporate conspiracies, to company executives, to court disputes, to the handling of interpersonal relationships with partners, to family financial crises, to father-son relationships. From big to small, from southeast to northwest to Mike Clayton. Take what you want; take what you want, and show what you want clearly. This is the skill of storytelling and the skill of a good director. The best part is that the whole film is crisp and neat in that it only talks about motivation and character changes, like playing chess. Which chess piece advances a few steps, which chess piece is taken by which chess piece, ends the talk and moves forward. Oh my god, if it were a mainland police drama, it would probably talk about 40 episodes. It might lengthen the point, portray George Clooney's cry, or how poor anna despaired of life after her brother died.
In short, this is a niche movie. As far as entertainment is concerned, it is too complicated, and there is no such brain-consuming entertainment. In a profound sense, its complexity lies only in the clues and the meaning is limited to "everyone is a hostage held by various invisible nets." As far as art is concerned, it is still a Hollywood routine. This film is an intellectual game of advanced intelligence. Like a scholar, opening an exquisite detective novel by the beach. This is a niche intellectual pastime.
ps: I just finished watching "Bullfighting" recently, so I have to compare it with that disgusting "second repetition" technique. Mike Clayton's "Second Lecture" is a coordinate of time axis correction. What's in "Bullfight", ruminating on the situation, ruminating on the meaning? Why are our directors always afraid of being hypocritical?
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