When we are in the world on a daily basis, only at certain moments of ecstasy do we encounter a sudden sensitivity to our senses: triggered by a specific thing in front of our eyes/ears, everything around us suddenly becomes incredibly real, The sounds of heaven and earth, and the images and colors of the micro-occult are coming to you at a high speed. You are stunned in this world's rich and infinite material, and you are lost in me, and you are only a mysterious mirror between heaven and earth - is it the forgetting of subjectivity? On the contrary, it is precisely total subjectivity: seeing .
A certain kind of meditation space that Ang Lee likes to make repeatedly in his films has undergone a very internal transformation in the film, and it begins to no longer rely on traditional camera changes such as framing. When we put on 3D glasses and entered the DOLBY environment at 4K 120 frames, we immediately entered the state of "seeing" without waiting for the opportunity. The house surrounded by expensive potted pine trees, even if we enter the interior, those plants are already out of our sight, but we are "seeing": the lingering whispers in our ears, and a tiny insect flashes by in front of our eyes ; so we found that those pine trees, the static state of each pine needle, their unique and elegant greenery, were still pouring into my eyes. My senses are no longer divided into visual, auditory and other categories, but are integrated into every inch of space in this house; Moruo said, the image itself has become my "sense" in a new sense this time. , Camera: An Anti-taxonomic Organ.
When I say "no more traditional lens changes like framing" it comes from the teeth in the lens. If the character was in a mid-panoramic state at the time, then for the teeth thrown into the protagonist's hand, it would undoubtedly be a big vision. But somehow I (even if I didn't see it clearly) still "see" the bloody teeth completely. I still remember the unintentional discovery of human teeth on the island in "Pi," a close-up. In the center of the picture is the promise of an island of sweet dreams that will devour you, and the fear comes from perceiving the strange allure of death itself. In a "boring" old-fashioned spy war movie, how can the teeth of a trash fish be knocked out by the heroine (only the size of sesame seeds in the picture) compared to it? Even, why did the knocked-out teeth of a spy war film fish attract any special attention? Yet we "see" it completely, and are suddenly seized by the mystery and terror of the figure of the tooth, and instantly enter a kind of dream-like delirium. No less than the teeth that were quietly protected in the green and transparent leaf heart.
Gemini Man in espionage - sci-fi in short is the retro genre film that's double. Although the whole script seems old-fashioned/retro, quite relics of the last century, but we have never seen it, even more surprising than the audience of the last century. Just like the sand sculpture citizens who fled their seats in fright when the train entered the station, when the young Junior turned around, we saw his face and couldn't help but be as stunned as the protagonist (how can the protagonist see us clearly?) . We are finally experiencing the paradox of fully accepting the hypothetical of the film, but at the same time being astonished as seeing the real inconceivable. And that's precisely because we've seen it like never before. Are you used to being scared once? Once again, the degree of surprise has not weakened in the slightest. The second clone that appears is even more inhuman, and the action of taking off the helmet is more in line with the description of the word dévoiler. Faceless-inhuman horror is revealed in his innocent face. All in a turbulent moment transformed into another kind of horror: pure inconceivable. The two are fighting, and they want to go first. No need to deny that this is a complete genre film, but this is no ordinary genre film, we are back at the beginning of the genre - thinking to ourselves like idiots: "Oh my God! They look the same! It's incredible!"- - This long-lost cry is incredible.
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