Let’s learn from home guards, really, either don’t make concept films or poetry films, and make more narrative films. Mirrors like In the Mood for Love are illusory, and the door frames are bound; There is no respite in the boxy frame. A single point of light leakage can not only describe the death of a person, but also represent the sacredness. Happy tracing. The middle part recognizes that it is an illusion: the beginning of joy is to lay the foundation for pain, and the beginning of narrative is to have a blueprint for the latter to escape from the surreal. Sure enough, Bergman still focuses on describing the internal conflict of people, and slightly less on the external conflict of events. The image of the bishop may not be realistic, but freehand in terms of meaning, symbolizing the collapse of religious belief, and discussing the escape of people in this situation. Again: God is dead. My knowledge is limited, I haven't read Shakespeare, and I don't know much about religion. If I understand it in the future, it may be because I read the 188 version, and the shaping of the third child Carl and other characters is unnecessary and can be deleted.
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