"Red" first ten minutes review

The film "Red" is the last in Kielovsky's "Blue, White and Red" trilogy, exploring "fraternity". The beautiful young heroine Valentina and the young judge Auguste are neighbors, passing by each day without knowing each other. Valentina met the retired old judge by chance, and accidentally discovered that the old judge had tapped the neighbor's phone and formed a friendship with the old judge during the quarrel. Valentina's boyfriend in London is full of suspicion and distrust of her. Auguste sees his passionate girlfriend cheating with other men, and the old judge witnesses all this. The two protagonists are the embodiment of kindness and love, but they are constantly hit by various contradictions and ugly realities. However, it was arranged freely, and in a huge shipwreck, the two protagonists finally met as the only surviving survivors. In the film, the director finally pulls the two protagonists together through a seemingly bizarre story. The strong and mysterious sense of fate makes the film contain a very philosophical background. As Keith said, encounters between people are like apples that have been cut in half, meeting in the gaps of missed time, whether it is various encounters or coincidences of passing by, or August and The same fate experienced by the old judge is inextricably linked with indescribable destiny and accident.
At the beginning of the film, the camera moves along the telephone line and enters the inside of the telephone line, and the colorful and mottled colors force into the line of sight, creating a kind of magnificent illusory world dazzlingly. The camera sprinted into the seabed and then pulled out along the orbit, into the underground space, and circled in countless pipes, and the light that penetrated intermittently was dazzling in the rapid rotation of the camera. At the beginning of the film, the "beep" sound of the phone was gradually drowned out by the noisy human voice in the sound of water, and orange-red signal lights appeared on the screen. The director simulates the propagation of a signal with a dizzying series of quick shots, then immediately cuts back to the phone in the first shot, showing a call that was not in progress because the line was busy. The camera cuts to Auguste and his dog, and gradually moves towards Valentina's window. The street flashed across the screen, and the red signboard of the CAFE hall explained the environment and paved the way for future episodes. The camera advances from Valentina's window, creating a peeping angle to the cluttered, cramped room, and then we see a close-up of the phone, which undoubtedly further reveals to us that the phone plays a very important role in the film. character of. From the dialogue between Valentina and her boyfriend Michelle, it is not difficult to infer that it is Michelle who makes the call in the first shot. Then we slowly observed all the subtle things in the room from the lens, the red windmill, the coat, the film is through such details and the local hue of the object, the overall color style orientation is connected in series.
At the window we borrow Valentina's sight to see the end of the hero walking the dog. This may not be regarded as a malicious peeping, but it is an unequal observation, and this kind of observation in life is more of a distrustful communication between people. There are many shots in the film that show this. This kind of detection, whether malicious or unintentional, expresses the director's reflection and discussion on the communication between people.
Valentina's car riot control not only made us feel the crisis and fragility of this relationship from her dialogue with Michelle, but also made us see the vaguely unequal pay between August and his girlfriend . Such coincidences and misses are reflected in the film, which adds to the color of fate.
Red is a rather flamboyant color, her symbol is complex, the liveliness of vitality, or the horror of eerie violence. Keith used red as a symbol in the film as a whole. The red machine, the red signal light, the red backdrop, the red pole stand in the practice room, and the clothes on Valentina's body all symbolize Valentina. . This kind of fraternity, kindness, pure and thorough yearning and pursuit of sunshine.
Kielovsky's official scorer, Precesna, arranged a dance-style main melody for "Red". The music first appeared at Valentina's catwalk, a beautifully flamboyant mid-tempo three-step. In the film, this melody is configured many times, incorporating subtle but subtle changes in constant repetition, as if to interpret the dramatic changes in the daily monotonous and repetitive lives of the protagonists. In Valentina's car after the fashion show, to the soft plucked music on the radio, Valentina's melancholy and loneliness is depressing. This clever use of ambient music expresses the real sound in reality, and also perfectly integrates music and film. With the sound in the car, Valentina and August completed a passing by. August's books were scattered, and the pages turned to the questions for his future exams. This plot, and the same experience that the old judge mentioned in the narrative at the end of the film, highlights the fateful atmosphere that the film intends to create. In the same way, it was the inexplicably sharp whistling sound from the car's audio system, which foreshadowed something ominous, distracted Valentina, and bumped into the old judge's dog, realizing Valentina's acquaintance with the old judge. This is also the fateful arrangement of all self-determined destiny expressed in Kee's films.

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