I like simple jumps. Complete several jumps quickly in the clip. I also like the mismatch between sound and picture, and the politicians drive my mother for a while. The sound is continuous, the picture is "emotional", and it is also a kind of jump. I think of Wanma's "Looking for Zhimei Gengden", which is also used in this way, but "searching" is too long. What I don't like is the special effects part. Upside down, upgrade, I don't like it.
Needless to say photography skills, a director who started as a photographer. The director's control over the characters' performances is also absolutely fantastic. The actor wasn't nominated, and the director's award speaks volumes. A lot of delicate emotional performance is done through the camera, not entirely dependent on the actor's performance. The actor actually has a worried demeanor most of the time. Throw in some inappropriately stiff looks for dramatic effect. The mother went to the politician to ask for money to go home, and laughed happily after throwing away her shoes. The smile seemed stiff and unnatural, and then the director cut to his son's demeanor. The son was in an unnatural state of worry throughout. The unknowing embarrassment was replaced by the son's performance... The ambiguity that occurred when the mother just opened the car with the politician was shown... The director needs to know his character enough to clearly guide him what he wants.
The disliked part is the over-drama of the whole movie! Top bag, cheating, bad boy, deceit, dead brother, murder, find someone to top bag again... I don't know if the director is suppressing drama or pursuing meticulousness... This is what I can't understand. The plot setting is extremely dramatic, but the performance is deliberately downplayed. This feeling doesn't look very comfortable.
Many times, even for commercial films, there is a lot of room to imagine. Directing skills are not necessarily reflected in deep themes. Many of the ideas and techniques in this film can actually be applied to commercial films.
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