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"The Limits of Control"
Director: Jim Jarmusch
Starring:
Isaach Jarmusch is more avant-garde this time, challenging the limits of hypnosis and patience. The black killer in the film is unremarkable, and his expression lacks change. You have to watch him for two hours to complete a transformation.
The film also has the shadow remnants of Jim Jarmusch's previous film "Broken Flower," the constant wandering, the different encounters, and the cameo of Bill Murray. Just take a look at the behavior of the characters, everyone knows that Jiamusu is going to make a "killer movie" this time. Those coming for "Ghost Dog: The Way of the Samurai" may be disappointed, but Jarmusch has gone a step further this time, pushing the limits of hypnosis and patience. The black brother inside is not good-looking, his expression lacks change, and his nostrils are full of personality. You have to watch him take two hours to complete a transformation—— where is this suave killer, it is completely intentional subversion and spoof. The most common things this gentleman do in the film are walking, admiring, watching the scenery, drinking coffee, and swallowing pieces of paper, and then continue to walk, appreciate, look at the scenery, drink coffee, and swallow pieces of paper. Although there is also a picture of the oriental airway, which looks decent, but the killer did not take action for an hour and a half. In the end, he used his magical mind to penetrate the wall and enter the room. After reading an unintelligible line, he simply killed the big boss. , leaving the thundered audience in a fog.
To comment on the most vocal killer of all time, this little guy in "The Lim its of Control" is competitive, just because the black brother is so unusual, even the informants he meets are extremely unusual. They always start with the sentence "You don't speak Spanish," and then talk to the protagonist about music, movies, science, opera, and spirituality, and so on. What's interesting is that Brother Hei is basically unmoved, let alone calling. He just sits there listening, watching, and thinking about something. Whether it was a naked girl or a golden cat in front of him, he tightened his face as if he was facing a big enemy. Through the dialogue between the two at the end (which is almost the only entrance to interpret the film), some people think that the film reflects "fighting with oneself endlessly", while others say that this is an allusion to the eternal contradiction between material life and spiritual pursuits——Jia Mu Xu didn't answer, just finished with a face-covered artwork.
The story is left blank and free of conflict, and Jarmusch has always intentionally highlighted the conflicting and contrasting colors, such as the dazzling red. The soundtrack is also erratic and weird, a standard cool style. In addition to the repeated overhead and elevation shots before and after, the zoom processing of the protagonist when viewing the painting, the upgrade of the informant and the movement of the camera when the informant appears, indeed hint at the intuitive changes and ideological shakes of the characters. Explain the character information, pay attention to the depth of field when it comes to specific space, and constantly cut in the direction of depth and horizontal extension. All that aside, "The Limits of Control" is more of a Spanish scene than "Vicky Christina Barcelona," with flamenco dancing, streetscapes and buildings of all kinds, but without the flirtatious flirtations of beautiful men and women, only The cool killer and the bizarre supporting roles, among them the glasses girl and the strange dress girl, are quite stealing the show.
After the subtitles were released, the film displayed the slogan "No limit, no control", as if to say that people's thoughts should not be restrained. As for how to understand the film, that is your own business. [Nandu http://gcontent.nddaily.com/2/a2/2a27b8144ac02f67/Blog/557/52ed04.html ]
The story of the film is long and messy, but compared with the past works of Jarmusch, it is less elaborate, It looks cleaner and more beautiful. ——J. Hoberman ("Village Voice")
The film is like a French Impressionist painting full of saturated sunlight, and Ducofon's shots are so captivating that he writes a narrative poem in soft-focus imagery. - Betsy Sharkey (Chicago Tribune)
Anti-drama work, pure video and sound effects deserve due appreciation. —Manohla Dargis (The New York Times)
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