Dodu must have done a lot of homework for this role. Just watching the crippled Mathilde trot rushing to the intersection before the car, the tragic feeling of the character's posture has long been heart-wrenching. She has done a very good job, but perhaps Dodu, who is full of aura, really lacks a calm temperament (so she has a straight face most of the time in the movie, and once the corner of her mouth is raised a little, it immediately reminds me of Ai beautiful), or maybe, it's just that I've already integrated this character with her. Gaspard Ulliel, as always, showed his style as a handsome man. Although he was the leading actor and performed well, the movie didn't give him much room to play. (I actually prefer to play the little boy from his childhood).
Impressed are the supporting roles of Marion Cotillard and Jodie Foster. In the end, Cotillard has the level of Oscar-winning actresses. He doesn't appear much in this film, but he is very intimidating and eye-catching. The prostitute Tina Lombardi played by her is sexy and insolent, but she is infatuated and loyal, and can sacrifice everything for revenge on her beloved. When she was crying in prison, telling her revenge experience with viciousness and pleasure, and laughing with relief and relief after seeing the last words left by her lover, she was actually showing the essence of the film's sadness and determination. Jodie Foster is indeed a talented woman, with a high level of French, which is admirable. She has fewer scenes, and half of them are sex scenes. Play as elodie gordes, a peasant woman caught in a maelstrom of love, marriage and ethics. I have to admit that it was her appearance that made me start to pay attention to the innocuous plot in the first half.
The cinematography is beautiful and the soundtrack is also very good. But what frustrates me a bit is the plot of the movie. In fact, I have been looking forward to the movie to gradually boil the audience's emotions like a pot of soup, and then reach a peak at the end, and then let the audience reminisce little by little the feelings and thoughts that have been exuded (what Love is the only belief, an anti-war insinuation, blah blah blah), but that expectation is always undermined by a few "bugs": the slightly nonsense Angel Emily-style humor; and the innocuous narrative; or It's the director who didn't intend to be sensational at all, but he took a few unexpected places. For example, the bombing of the field hospital and the explosion caused by the hydrogen balloon; the mother of the innocent sacrificed soldier goes to the hospital to visit her other son, manech, who has recovered... Maybe these are side details, but an epic movie often It's all because of this detail.
So, in fact, I like "Atonement" the most among similar movies. If nothing else, the long shot of the Dunkirk retreat alone has reached its peak and moved beyond words. Maybe "The Long Engagement" can be more open-minded, but that sentence, or maybe it's a problem with my viewing attitude.
But when it comes to the end, the expected and long-awaited emotion will still arrive as scheduled. On that sunny afternoon, when mathilde limped up the steps again, with tears in her eyes, towards her manech, whom she shared with her heart, when the amnesiac manech repeated their childhood phrase "Would you walk? Pain?" When the accompaniment reached a high pitch and the narration reappeared, I believed that although they lost their past, they still had each other's future.
mathilde always believed that manech never died, that a connection between them was not broken. I've seen such a thing before in a book about a strange event, and I believe it really exists.
A friend of mine once said that people are born alone, just like every tree, the roots they buried in the ground absorb their own nutrients, but in the sun, the branches and leaves gradually come together, even Intertwined with each other, just like that until old age and death. Perhaps this is really "the branches cover each other, and the leaves communicate with each other".
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