Regardless of the content, I really like Lars von Trier's shooting method as always... The sudden burst of heavy metal, the flood of small zooms, the separation of space and the subject, and the use of chapter to write papers, crazy use of metaphor, love Lombo, the Fibonacci sequence, Shaw's waltz, Bach's polyphony, all the elements of "perversion". He was so funny, it gave me goosebumps all over.
He likes to use a documentary style of filming, using an obtuse and inexperienced third-party onlooker's perspective to narrate, and the corresponding lens language is a lot of hand-held lenses, deliberately defocused, out of sync between zooming and panning, The hesitation of silent scenes often requires passing through many people to actively find the subject in this shot. I especially like the sensory gap brought about by these two-second details, which directly express loneliness. This kind of unsmoothness is uncomfortable, and the identity given to the audience is not an objective narrator, but a voyeur who probes his brain in the crowd.
I thought lars was a particularly "industrial" director. He likes to shoot cold machines and buildings. The aesthetics of the composition comes from the blank space between people and machines and buildings. Objects need order and mission. weak voice.
The discussion between the two narrators is very interesting, one side is a pessimist self-deprecating, the other side is an extremely objective dialectic, sex, sex addiction, love, loved ones, loneliness, fear, death, the motif of life is lars Well written into his essay.
View more about Nymphomaniac: Vol. I reviews
