Mostly because of Abbas' semi-improvisational strategy, the script, color, light, composition, camera movement, and sound have their own ingenious designs, but they retain a natural (even sometimes clumsy) feel. The old man also thought of explaining: "I have said a lot, can you talk about it? If you don't talk, just continue with my talk."
The ever-rising and falling swaths of brown-yellow land, vegetation and cities are dotted with blue-blue life moving laterally in an equal head-up lens, until they finally enter the green forest; Each mirror has a subtle distance change, and the warmth, light and shade and contrast of the light are also facing each other and changing. Although the scenery is in the background, it gets half of the stage in terms of time, space and audio-visual, and the music with local characteristics is also qualified to do it. The organic entity of the space does not deliberately close off emotions, but participates in the scene.
The subjective lens is particularly commendable: it not only allows the audience to enter the multi-angle life experience of the viewer and the audience in the film, but also loosely corresponds to the metaphysical image of the discourse. I don't know if it's a technical reason or not, but most of what the windshield sees is land.
The car is really the ultimate movie machine, sometimes serving as a static stage and interface, sometimes looming in the landscape, guiding a combination of still and flat overhead shots (sometimes people suspect that the cameraman is in a daze and awakened by it), combined with always in the foreground The dialogue maintains just the right amount of intimacy and strangeness of the characters, allowing the audience to think and feel the whole natural and humanistic world they are in, and even extends to the crew at the end - the private space thus merges with the public space On the horizon at sunset, this is an argument for the taste of cherries.
In addition to the metaphysical imagery, this film is also like Abbas's consistent style, there is no lack of more metaphysical references to money, geography and society - I am very happy until the end, the worldly reward has not been forgotten; various nation-state references and Turkey In people's jokes, Kurd is a name that is also shocking at the moment. This tension is like the sentence "Please turn left" in the gap between the big truths. But the double rejection of the labor plot and attention at the beginning still makes me a little hesitant, after all, the hitchhikers in the back are not too different. Those slightly familiar suspected language fragments: Хорошо, merci, and עֲלֵיכֶם are particularly moving, reminding me that the world also shares many artificial creations.
I just realized that the industrial rhythm of crisp rules reassures me the most.
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