The film begins with an almost pure white texture. In the middle shot, a group of eight people trivially arranges the cuffs of their clothes. The light blue clothes and the gray-blue sky are ingeniously combined, and the loneliness is silently rendered ingeniously but subtly. Under the grainy picture, the vitality is hidden in the team. The unpopular orchestra strips the minimalist and restrained emotions one by one. The empty head of the airport lights inadvertently reveals the desolation and desolation of the band. The combination of emotion and image makes the film escape from the delicate relationship between the two ethnic groups, and focuses on the loneliness and communication of the protagonists. As the scene changes, the empty footage shows the road under the yellow sand in the sky, and the light blue band lined up in a line creates a sense of alienation in color, obscurely showing the incompatibility between foreigners and this strange city. In the film, the contrast between warm yellow and light blue is used many times. The warm clothes and warm yellow lighting of the host at the dinner table create the warmth and tranquility of the birthday, which is abruptly broken by the light blue of the band, and the embarrassing dining table atmosphere It strengthens the sense of antagonism between the two sides, and also shows the obvious separation between the outsiders who are difficult to integrate into the dining table and the master. When talking about common favorite music, the gap between the host and the guest was filled. The director put two groups of opposing members into the same shot, so that the warm yellow wraps the lonely blue, and the blue is no longer abrupt but harmonious and large-scale. Yellow merges into one. When the scene changes to the discussion between the leader and the hostess at home, the warm yellow curtains and orange lights in the medium shot make the silhouettes of the two blurred, thus showing a strange texture of inexplicable ambiguous but distance. The fire-colored watermelon and the bright red on the toes of the hostess showed a woman's sensuality and initiative. The woman who put on the dark red knee-length dress was full of amorous feelings. Her strength was in stark contrast to the dullness of the captain. In the narrow and dim space inside the car, this contrast has risen to a new height. The action of the woman slapping the trunk outside the car is reflected in the blurred red figure projected by the mirror and the real light blue clothes of the male protagonist at the same time. In the picture, the collision between red and blue tends to be weakened, and the sense of alienation between the two is blurred in each and every communication. After the appointment, the medium shot under the big orange light in front of the door completely turned the colors of the men and women into black silhouettes. The sense of opposition between the two in front of the door disappeared, and they were completely integrated into the orange atmosphere. The shaping of loneliness is also reflected in the composition carefully shaped by the director. Getting off the wrong bus, a group of eight people and the desert road together form the golden section, which constitutes a clever balance between the eight people and the desert road. In the picture, the audience can feel the feeling of alienation but forced to accept the moment The helplessness and forbearance of the environment. In addition to this, plenty of classic triangular compositions are scattered throughout the film. For example, the captain and his party went to the restaurant for the first time to ask for help. Under the panoramic lens, the hostess and her two friends formed a triangular composition. Attracted by women. The scenes of the captain, the female shopkeeper, and the teammates who love to strike up a conversation with them at home also use the medium panoramic view to show the strange balance between the three people, and also reflect the possible obstacles in the development of the relationship between men and women. What destroys the triangular composition is that the hostess gets up and opens the refrigerator. The mirror that comes with the refrigerator sweeps across the house along with the door, and finally stops on the provocative man. On the basis of the extension of the visual space, there is a cold ambiguity between the two. . The three team members and the host at the Israeli table were arranged by the director into two picture frames. The back and forth fighting back and forth made the confrontation more prominent, and the sense of alienation that could not be integrated spreads on the table. At this time, the picture jumps to the scene of the relatively small but warm home of the trio. The contrast between the compact but non-aggressive triangular composition and the alienated table image forms a strong visual impact, deepening the audience's perception of the two Understanding the atmosphere between different scenes. "Maybe your song can end like this, the kind of sudden ending, no sadness and no joy. Just a small room, a lamp, a bed, and the child sleeping. And, endless loneliness." The film under the mirror shows a kind of loneliness from beginning to end. The loneliness among strangers, the loneliness of two countries with a long history, the inner loneliness of those who want to get close. Loneliness and reconciliation conflict in the meeting of these strangers and then tend to calm down. The window of inner loneliness is closed with boundless loneliness and faint feelings.
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