About three and a half. 1. I like the blank at the end. In such a dull, crowded and embarrassed city, if such a pair of ordinary people ends with a fairy tale reunion, it will be too romantic; if it ends with a definite "miss", because the concentration of emotions itself is not enough, Nor will the audience have too many regrets. The ending of an unknown true ending is surprising and fits the realistic tone of the whole film. 2. The background of the story is a Hollywood-style love story with a little romance - the two sides are emotionally distressed, and coincidence makes them acquainted; it is easy to make a Hollywood-style love myth. But this film doesn't. In terms of content, the hero and heroine haven't even met each other in a real sense. The heroine's husband is originally important in the plot, and his infidelity may be important, but this film does not have as much ink as the general melodrama, and even he Whether it is really derailed is also uncertain, it has a little Italian neorealism feeling; in terms of technique, relatively speaking, the film is anti-pattern. If we use words as a comparison, when depicting the hero and heroine, the film uses more "narrative" rather than "descriptive" and "lyric". There are not many details (I can't think of any details and meaningful close-ups), the scenes and so on are relatively flatly narrated, and even a little "looking down" the story. The audience is not "brought" in by the feature. 3. I especially like the courage of the heroine and the cowardice of the hero. So true. Neither of them are indomitable warriors, they are more hesitant, restrained and cautious. Not at all mythological. The heroine heard about her mother and father, and took her daughter to the man's factory in a hurry; the man had prepared everything carefully, but sat down alone in a corner of the restaurant, not daring to come forward, using an old-fashioned saying, "Love is what you want to do". A hand to touch and withdraw". Courage and cowardice are too precious. The public tends to appreciate the former more, but the latter can also have a lot of aesthetic content. (So I gave half a star more) 4. Although the sudden courage and cowardice touched me very much, this one was a little sudden. The female protagonist is looking for the male protagonist, and she suddenly went to the male protagonist just after hearing her mother's story about the insipid marriage? The key point is that the plot is not motivated enough; the male protagonist is suddenly cowardly, and it is better to add a little more detail to the previous paragraph, implying that he is aging. 5. This film has a slow pace, a strong sense of reality, and a consistent shooting technique. The advantage is that it is very realistic, but the disadvantage is that there are too few changes. It is always very similar after taking multiple shots and opening letters. Can the lens be designed a little more? ? 6. From my personal opinion, I can shoot a little more delicately. Of course, it may also be due to personal aesthetic preference. I think the story of this film is relatively thin, so the audio-visual on the camera You have to be a little more delicate, or you won't be able to get your emotions out. 7. The shaping of her husband is still very good. Although the ink is small, the image is very strong. A man who only cares about cauliflower. A man who has lost love and passion. 8. One question is, did they produce love? I think the true "love" component of the film's love is too little written. The two are more like confidants.
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