Claire's Knee is the fifth waiting mic I've watched.
It is a film from 1970, which is a relatively early work. Shooting style as always.
The color matching is bright and natural, the natural light is widely used, and the original ecological natural sound is used.
The use of the artistic conception of many windows reminds people of Hope's series of paintings on the theme of windows, people's sense of loneliness, and the feeling of onlookers is ready to come out.
There are many scenes of the sea, misty, partial, and brilliant. It seems that under the lens of Rohmer, there are thousands of situations that can match the mood of the protagonist.
The expression of many mirror images reminds people of Wong Kar-wai's application of mirror elements in Lust Caution, whether it was inspired by Rohmer or not.
A lot of goose yellow, curtains, the suspender skirt of the heroine in Autumn Story, the tie of the hero in this film, the color of the back of the chair. The compositional meaning of light yellow to Rohmai is an obvious and lovely escape.
Close-up of countless dialogue shots. Sitting, standing, lying down, talking on the phone, driving, the protagonist in the film is always on a seemingly limitless exploration. A girl's definition of feelings, a man's definition of self-state, the origin of life they seek, and the sorrow of reality that they hate. Hong Sang-soo wrote in an interview that people need to have a conversation partner. This sentence hit me deeply. In Rohmer's films, characters always have something to talk to, and everyone is trying to explore and discover. Everyone has their own philosophy of life. This moved me. Compressing the characters into a very short segment of life, using dialogues and behaviors to tell the characters' self-discovery, this is the utopia created by Rohmer.
In some detached fragments, characters can have sea, wind, trees, flowers, philosophy, and dialogue. And the body and the touch in that moment. Rohmer will use a lot of shots to express the state of the body, stretching, slow, intimate body touch, I think this is a more intimate conversation.
In indoor shots, Homme will place a lamp in every corner. The scattered light sources quietly hit the bookshelves, the tabletops with scattered books, the fireplace, in front of the mirror, on the bedside table, and even put a lamp in front of the window. As for the form of the lamp, I almost went crazy and took about 20 screens of the lamp. The white cover is round with a bulging white porcelain base, the red cover is white, the white cover is transparent drop-shaped table lamp, and the white cover is printed in the Ming and Qing Dynasties. All his prudence, the private goods are so caught up as the little joy of his works.
Regarding this film, it is still the subject of the eternal relationship, the flow of people's emotions in the situation, the characters who try to analyze themselves, the unspeakable transformation of the characters, and the relationship that cannot be precisely defined. It seems that we can never define and generalize about relationships and moods. We can only wait for it to happen, the only thing we can do is to open ourselves up.
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