The sense of existence of the story is much stronger than that of the camera lens. It tells a lot of content, but basically it only has artistic expression techniques such as front and back shots or close-ups or some beautiful scenery photos? The texture is a little shabby, but after all, there are six hours. The viewing density of the dripping duck-back style is less tiring, more like some short TV series watched on the movie channel when I was a child.
The Italians in the movie sometimes look very similar to the old Chinese, enthusiastic, willing to take care of things, lacking a sense of boundaries, and they are very concerned about some sour relationships that owe each other and lock each other; the difference is that the movie has a relationship with the characters. The handling of the whereabouts, or the literary and artistic works can’t help showing their attitude towards society: for example, the brothers initially took away the mentally ill Qiao Zhen who was suspected of being abused by electric shocks out of juvenile indignation (and some classical psychology of saving beauty). The scene of the three young people warming each other in the shed seems to imply that a harmless (at the same time cramped and impoverished) private world would be the best destination to solve Qiao Zhen's predicament, but the whereabouts of this part of the plot turns to the outside. Bringing the police to expose the shady scenes of the hospital, and taking the patient to insist on appealing to the court to judge the doctor is the end. The social environment in Asia at the same time was unimaginable. We acquiesce that the external wind, sword, frost and sword cannot be stopped, and it is a passable consolation for good people to pull the handle of other good people into the sea.
Brother and Julia's line is the best and fullest. Participating in social movements, living a collective literary life, escaping and kissing in the sound of sirens chasing protesters, is it Italian educated youth literature! (Shut up!), the turning point in the middle of the plot still carries the echoes of the left-wing ideology being pushed into life in the 1960s and 1970s. Julia directly transformed her impatience into boring marriages into her yearning for revolutionary passion, preferring to be a terrorist rather than being a terrorist. Housewives, this is not much more hardcore than your country folks going to Northern Europe to watch hippies smoking weed and playing marijuana. Middle-class American wives can't even think about it! In contrast, the love line of the younger brother is too instrumental and uncomfortable to watch. Why is it just a one-night stand accident, it must become a thought to make up for the grief of the relatives after the death of the male protagonist, and having a new child can make up for it dead child? She should have a new life, or leave, instead of being accepted by God's believers like an object touched by God, which is a very wishful solution. (I don't know why grief and regret are to be resolved, probably this is a TV series!
Brother's death is well shot! The simple shooting technique is quite appropriate here, which is concise and restrained without sensationalism. The accumulation of the same frustration that the characters have repeatedly foreshadowed before, and all the repetitions fulfilled their weight at the moment of the character's death, which shocked and saddened me. The other half I would like to credit the actor
The ending is relatively weak, and there may be nothing to do. Everyone has reached a state of retirement with good health and a happy wallet. All members are middle-class, partying in a big country villa, and watching their children get married. Happy and reunited, but I always feel that I don't know where I lost the ending.
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