Looking at him from a distance, his life is so colorful. When we deal with this boring time in class and pass this life, across the Pacific Ocean, they are doing what positive things, hate this system, but can't. Live falsely.
There are too many shadows of masters in this film. And two of my favorites, Wong Kar Wai and James Dean. The tone of the whole film has a color of Wong Kar-wai's aesthetics in it, the plump and sexy ass under the short skirt is in the upgraded shot, the random subjectivity of the camera cut, the use of the theme music, the free and easy and persistent duality of the characters, too. There is a shadow of Wong Kar Wai.
The sex-related scenes are very sensual, elevated, close-up, and the movement of the camera captures the real emotion of the languid enjoyment, the depraved longing, and the reality.
The downside is that the sense of form can't stand the content, it has a slightly flashy feeling, and it has too much MV flavor. For example, there are too many upgraded scenes, and there are too many scenes with subjective consciousness hanging on emotions. The time and space environment of the interview is not good-looking. It is too separated from the main narrative environment, but it is not interesting. The character building is not extreme enough, tepid.
Anyway, a child in 1989 can have a movie with a good reputation. It needs me, a clumsy bird, to fly quickly.
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