The unimaginable actor scheduling and scene design, and the huge photographic frame contains a lot of information, which is dizzying. The most interesting thing is that the director is not biased towards any picture. The audience can choose a character they want to pay attention to and stare at, or they can get an overview of the whole situation. And it can be seen that the director likes the game of glass and light, the characters, the reflection of the Eiffel Tower, the Arc de Triomphe, and the spiral indicator light at the entrance of the hotel, etc. I feel a sense of humor that makes no sense.
The plot in the front building is a bit lengthy. Although there is no lack of powerful scheduling and careful selection of shooting angles, it still makes me feel sleepy when I first come into contact with similar silent films (with very little dialogue). But the climax to the restaurant was very interesting to me, with slightly more camera transitions, which made the audience feel more immersive while building the structure of the restaurant.
The "modernization" shown in various places in the film makes me feel dizzy, whether it is the rectangular office in the glass building, the disturbing sound of the elevator going up, or the congested streets of Paris. Dazzling, all kinds of novel inventions are meaningless, only absurd.
After learning that the director is directing and acting, he is more certain. He wants to remove the beautiful filters of modernity, see the true face of Paris in the illusory mirror reflection, and find casual music and dance in the destroyed high-end hotel. , After removing all the glitz and carvings, the original flavor of the city of Paris is finally dense. In the end, the heroine left Paris with the streetlight-like flowers given to her by the male protagonist. What remained in Paris were the realistic and boring streetlights and the romantic who was blocked by the revolving door of the modern supermarket.
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