There's a lot of Hollywood in there, with obvious script frames filling the content. The first scene has a little student work feel, camera lighting and so on. The second act began to get better, and the third act reached its peak. The pursuit and frustration of personal dreams, the intimacy and rejection of relationships with family and friends, the affectionate and symbiotic relationship with horses…
The script is very well written. The meaning of a knight's life is to ride a horse. A wounded horse is as worthless as a wounded knight. The horse is killed, but the man lives. The plot of killing the horse and the plot of the knight looking back at his family are what moved me the most. The shaping of the characters is already very mature, but in the last twenty minutes, it is more in-depth, unexpected and unexpected, and suddenly strengthens the complexity and universality of the characters. The audience is looking forward to the knight's struggle to die at the last moment on the battlefield, which is his "deserved destiny". He tightened the reins with his disabled hand, but let go, said goodbye to his friends, turned his back on the creatures and dreams he had loved all his life, and walked towards two pairs of eyes that were watching him closely. In this film, the power of silence is greater than the dialogue, the music is also very good, and the sound design has some abrupt points, but most of it is good. In general, the rhythm of the whole article is neat and neat, not sloppy, nor blindly sensational. The lens is mediocre, but maintains the standard after all. The lighting is good, and the use of natural light is also very good. I like the light of the four cowboys talking around the bonfire. In addition, the sky in Zhao Ting's movie is so beautiful.
A few more points to add. If the first act is an introduction, allowing the audience and the protagonist to adapt to his "changes" together; the second act is the theme of dreams, then the third act means that the protagonist recognizes the "reality" and is truly relieved, the second act He couldn't understand what his father said "not all dreams come true", he only remembered the pony buried in front of his mother's gravestone. The character in the film also has a friend who has been paralyzed, which implies the fate of the protagonist's "willingness". He knows the inevitable outcome of his physical condition, but the last thing this friend told him was "don't give up on your dreams". A fifteen-year-old sister with a beautiful voice seems to have a physical illness, but she has received warm love and care from everyone, and she will comfort her brother not to be sad, and stick shining stars all over his body. The father is silent and "autocratic". He is against his daughter not wearing underwear, and even more against his son's insistence on riding a horse; he is also "not good at expressing" like all fathers in the world. When his son wants a horse, he is reluctant to sell it. I sold my deerskins first when I was in the saddle. The younger sister and father represent the family, one is a little silly but expresses it directly, the other is stingy but secretly pays, both of them love the knight equally deeply. At the same time, the younger sister and the elder brother are like-minded people, and the elder brother looks forward to being like the younger sister, "don't do what you don't want to do". The second act side-by-side shows that the protagonist is getting more and more aware of his own physical condition, and also depicts how close his relationship with Ma is, so that the audience can better understand his persistence and sadness. In the third act he begins to understand the friends and family who had been there in the first act, and he begins to make his own choices, but this time with relief. Family, friends, and horses are not only the life of the protagonist, but also have a deeper symbolic meaning, which enriches the level of the entire script at once. Every shot counts, never wasted or superfluous. The big vistas are so beautiful.
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