After watching "Enchanted", I am also obsessed. Although I have seen its screenshots and clips countless times, I was completely shocked when I watched this film for the first time. Isabella Adjani is amazing. She is the muse in the eyes of all directors, and she is the actor herself. After performing this film, Adjani is actually not crazy, which shows how good her psychological quality is. Some people actually say to throw away Adjani, this is a third-rate cult film, absolutely not. This is my first Zurasky, and I've never seen such wild and free camera movement. The movement of the mirror in the film is more like an unconscious intuition of the photographer. The movement of the camera captures more energy with the flow of the characters' plot, and the movement speed is also accelerating and becoming more and more intense, just like a movement in jazz reaching its climax. , or obsessed, the camera is also obsessed. All camera movement in the film is irrational. There's very little "gazing" or regular head-to-head play. On the contrary, there are a lot of rotating shots and shaking close-ups of characters in space. When the male protagonist entered the room for the first time and resigned, the camera circled around the table in a large circle. The audience will start to think: Who is watching at this time? This is obviously not a God's perspective, and the ordinary person's perspective will not be so quick and exaggerated. Is the hero possessed? Is this the devil's point of view? And before we had time to think, the camera quickly jumped to the next scene. (Jumps also appear frequently.) The jumpers here are not at all abrupt, but instead show the anxiety of the hero and heroine at a glance. After Ajani was beaten by the male protagonist, she shouted "dont ever try!" to the male protagonist with blood on the empty street Sometimes it’s a subjective shot, sometimes it’s upside down, sometimes it’s a close-up, and sometimes it’s hand-held. The "axis" that we flatter in ordinary two-person dialogue scenes is a joke in Zulaski's view. He wants to break all the conventional camera language, destroy and reorganize. Whether it's off-axis or a 180-degree swivel shot to reposition the characters: Zulaski is trying to confuse us. There is no real good or evil. Like the groaning and groaning of the demon-possessed Adjani under the icon. Also worth mentioning are the two hand-held long shots of the cafe and the underpass. Most of the dramatic tension in these two episodes comes from the actors, and what the camera (that is, us) should do is to calmly and objectively observe what is going on: it is endowed with power beyond the image itself. Quiet as a virgin, moving like a rabbit, the images are different from Tarkovsky's poetic and beautiful long shots. Both have their own advantages. They are both innovators of audio-visual language. The difference is that one is a burst of external energy, and the other is a call from the depths of the heart. The madness of this woman is actually very easy to understand. Who dares to say that there is no desire to create a devil in us? It's a pity that when we watched "The Enchanted", we were always caught eye-catching by Adjani, and ignored the biggest factor for the success of the director as a film. We can always think that he is the husband of Sophie Marceau, a famous Polish director of banned films, and Zulaski's fame and reputation are obviously far from matching his talent. It's a pity that the old man passed away in 2016, all I can do is to watch his movies well.
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