movie death

Gennaro 2022-03-23 09:03:30

To explain the so-called death of film is to say that film as a feature film or as traditional film language has long since died. When I watch a lot of movies, I might as well go out and see the scenery or talk to my friends. Because the ideas expressed in the film are simple and deliberate in form, it means nothing new. And my active life in reality is the only joy. Therefore, watching movies at present is nothing more than watching the deepest thoughts and forms of movies.
Feature is a documentary and plot film. "The actor plays himself in reality".
My kun10 is closer to this creative style in terms of form. But in my mind, what I show is the display of reality and beyond reality. In my films, movies are a means for dealing with my relationship with characters, for venting myself, for sublimating myself, for thinking about myself, for getting money, for achieving ideals...

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Extended Reading
  • Ilene 2022-03-21 09:03:28

    The man who loves movies is ruined by movies, his reality is the personification of drama. Abbas' audience is deceived by reality, but the drama we see is real. When we doubt the falsity of the film and believe it is natural, in fact the film as a simulacrum is under the control of Abbas. The subtitles are bad and uncomfortable to watch.

  • Herbert 2022-03-19 09:01:11

    Barely pass. I acted out a fraud case of impersonating Mark Mabaf (actually I didn’t deceive much money), there was a review of the process, and I also played the arrest process of changing perspectives. Of course, the focus is on the court trial, and it is impossible to write all the lines well. Abbas gives space to the actors and captures the nuances of the courtroom, making the record feel solid, but there is a price to this - you can only control the framing, and the finer points of the lines can be derailed. Abbas made this film, the first is self-confidence, the fraud started with an unintentional approach on the bus, the motive is actually random, and the fundamental question in the court is almost forced to dismantle the director's creative motive; the second is to create A kind of movie interest in which the true and the false are accompanied and transformed. The third is to inject a feeling of compassion, talk about the life plight of several characters, and let the real Makmapav appear on the scene and send a bouquet of bright and shy flowers. It's a good idea, but the long, improvised dialogue lacks restraint, and it lacks the fun of staring at the empty cans by the roadside like before