But the protagonists of my favorite Stephen's films aren't women—yes, Billy Elliot, the world of a 13-year-old boy that Stephen framed on camera, unfolds in front of a chrysanthemum-patterned wallpaper.
The miner's youngest son, Billy, handed over the tuition for boxing to the ballet teacher. He stood in the middle of a group of little girls in tutu, shy and pious. The burly father glared at him, and the patriarchy was overwhelming, did Billy lose? Stephen didn't stop for a moment to instantly explode Billy's fear and stubbornness in the camera - the thin Billy's arms stretched out air, and Billy turned into a horse, an eagle, and a warrior, and the air flowed through the screen. out! If we can feel the air, Billy's father must too. Startled, he finally left without saying a word.
To talk about the difference between British ethics dramas and American ethics dramas, I think it lies in the way of release of feelings - American orgasms are often fire and light, simple and direct, pulling your heart to flicker. The British style has no light, it is more like steam wrapped in a transparent plastic bag, and you can't see the high heat, but the bag is condensed with water droplets that flow like tears.
It turns out that the mine strike that took many scenes to explain in the early part of the movie has a special meaning. Billy's father participated in it, and Billy's brother was the leader of the strike. Both parties were waiting for the last straw to crush their opponents. After a slow fire and a long foreshadowing, Billy's father made a decision after watching his son's dance. This decision was like drops of water on a bag, hot and moist, "He's just a child!" cried the Hulk-like father.
I really like the last frame of the movie, it's a perfect back, maybe my father had such a back when he was young.
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