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Some filmmakers put a lot of effort into the film's logic, while others follow emotional logic. Pierrot Le Fou is the latter case. The photography of the movie is pretty good. The opening private party scene kept changing filter colors. I like the composition of the shot the most. The first screenshot below shows the two protagonists walking happily in the woods. From the small half body, only half of the head is left in the picture. It seems that the photographer does not consider the border to be left blank. The second picture is that the woman is going to play, the man is unwilling, and the two protagonists are on the left and right of the camera. The third picture is that the man who thought the woman was dead wanted to commit suicide on the rails...
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A short conversation on the scorching sun after the goofy Ferdinan panicked and killed himself with dynamite: It's ours again. /what? /forever. /No, that's just the sea, and the sun. Like the visual tone of Robbie Williams' "Eternity", lol.
How can the hysterical self-pity fat man who only sings one song in his life play that song? I really like it because I don't have to listen to it repeatedly for years and months.
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Not to mention light and shadow, composition, color, the ideals of men and the willfulness of women, it reminds me of "37°2 le matin" (Jean-Jacques Beineix 1986).
(Weekend report 2008-02: http://dinz.blogbus.com/logs/15809046.html)
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