A police orchestra from Alexandria, Egypt, a desert town on the edge of Israel, a different encounter that is embarrassing and full of emotion, like a work of heaven, performing a wonderful exotic journey. The film's highly stylized audio-visual language collides with innovative scene scheduling, which fully demonstrates its unique film temperament.
The police band from Alexandria, as a foreigner, is an out of place character in Israel, which is evident from the beginning of the film. In a panorama, eight policemen in uniform blue uniforms are neatly lined up in the center of the frame, and the camera is also still, constructing a completely different order from this scene, and it also reveals a feeling of disorientation. A woman pushing a trolley enters the painting from the right, serving as the foreground of the picture, while the police band lined up appears as a static background. The women randomly interspersed across the screen, breaking the current order invisibly. With the lyrical but slightly desolate piano music, a subtle embarrassing atmosphere was naturally created. Then there are two consecutive empty shots, showing the left and right sides of the policemen, both of which are seemingly endless unmanned roads that extend beyond the screen. Sensation can quickly grasp the audience's emotions, making it follow the rhythm of the film from beginning to end. In the communication between Khalid and the female staff, a piece of glass is used to divide the screen and separate the two. Khalid's voice switches back and forth between the real voice and the sound of the speaker, and the camera angle also changes frequently inside and outside the glass. , the two are sometimes synchronized, sometimes not, the picture is lively and dynamic, revealing a serious humor.
But when the band strayed into a marginal town, a place where green plants and culture were equally barren, it brought a strong emotional impact to the band. Another empty shot, desolate land, low buildings, the whole of the town can be seen at a glance, the camera starts to pan slowly until the policemen pulling boxes in the distance appear in the picture. When desperate, the lieutenant colonel turns to Tina, a shopkeeper who still has the charm. During the dialogue between the two, Tina took a slight upward shot, forming a condescending attitude. There was also a gap between her and the lieutenant colonel, which secretly highlighted the lieutenant colonel at this time. The feeling of powerlessness and the embarrassing situation of the band, but this experience unexpectedly became an opportunity for them to enter the emotional life of the local people. The murals on different indoor walls that were shot continuously, but the actions that cover them are shot behind, and the pictures in the paintings are covered, so the gap between people of different nationalities can also be ignored.
In the two local homes, the atmosphere was very different. The lieutenant and Khalid live at Tina's house. When the three are in the same space at the same time, the panoramic shot is taken. Tina is located on the symmetry axis of the picture, and the other two are on the sides of the picture. Tina occupies an absolute dominant position, and then The screen jumps to a close-up of Tina's feet painted with bright red nails. With the lyrical and melodious string music, a vague mood emerges spontaneously, with a bit of a woman's style, and the relationship between the lieutenant and Tina is also changed. This starts. Under the dim indoor light, the two are talking face to face and there is another compartment behind them. An ambiguous atmosphere shrouds the picture. The sense of space and layering in the background is gradually strengthened. The sense of immersion is heightened, and the audience is eager to explore the true desires in the inner world of the two. The other three police officers are in the Itsk family. The camera is facing them sitting upright. From time to time, they switch close-up shots, turn their heads and take them to the three family members in Itsk, with different expressions. In the filming at the dinner, only From beginning to end, he is the exclusive picture, never in the same frame with others, which makes him extremely helpless. His singing suddenly sounded, abrupt and straight to the heart, bringing the audience closer to Itz together with the picture, and a boring and eccentric atmosphere was also displayed.
The combination of Pabby and Khalid adds to the comical temperament of the film. Quickly switch from the heavy wind music to the most exciting and cheerful music, using the dislocation of sound and picture, the relaxed atmosphere rendered by the sound changes grabs the audience's attention one step ahead of the movie screen, and switches to the scene of the dance hall coherently. Then the tone of the background music began to rise, and a girl entered the painting from the left. The camera then switched to a medium shot to shoot the two men. The white rotating light was constantly moving in the picture, and a hazy mood slowly emerged. The funny plot of three people sitting on the same bench is an impressive joke. At this time, the background music was replaced by lyrical vocal music. Filmed from the front, the language and actions were repeatedly passed from left to right, taking over the imitation, and also developing the feelings of the two people on the left in a push-pull manner, showing an exotic emotional communication, rushing out Strange comedy effect.
People of different nationalities and identities met in this desert town and left a wonderful exotic experience. The film strives to portray a delicate and subtle temperament, revealing their common feelings between the gaps, and to a certain extent, it also shows that between the two peoples who were opposed to each other at the time of the war, the emotional barrier has been broken.
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