The core of the story is placed in the dialogue between the scholar and the outcast. One man and one woman, the man emphasizes thinking, and the woman emphasizes feelings. As always, the sender of the story is still placed on the woman, and the man is constantly interrupting, He commented on the woman's narrative, and the images formed are constantly alternated in the words of both parties, like a two-person dance. Based on such a foundation, in the first half of the work, the interesting thing is that the hunting nature of animals is constantly used. It is compared to the provocative behavior of human nature, which constitutes an Eisenstein-like performance montage. In the second half of the analysis of Bach's polyphonic music, the woman narrates the story in three voices, and Rastil shows it in a split-screen way. In each of its independent pictures, the pictures of musical instruments and sex are enough to form a basic montage, forming a whole, ingeniously integrating music and film, which has to remind people of Eisenstein's "Montage", the film = Subtle analysis of music.
The encounter between the two characters is also very interesting. The heroine Joe falls on the street, like a muse falling from the sky, which is similar to Polanski's "Venus in Fur", which coincides with the old pedant Selig. Man passed by when he was shopping for daily necessities, and helped Joe into his house. He was not happy with his life. It seemed that he had been given this gift by God. . Prior to this, Rasteel had spent a great deal of space showing the breath of the poor streets in which Joe collapsed, declaring the omnipresence of nature, which is in line with the notion his father gave Joe, which is likely to deepen as well. Her sex addiction is based on a deep understanding of feelings and subtle sensitivity to blending, which leads to the end of the film, Joe's despair about love lies in the fact that she can't get any of the feelings she seeks in the nourishment of sex. Faxiao's warning to her before was self-defeating.
I think the old pedant Seligman still has a lot to dig, and maybe the second part will focus on him. In fact, to me, the character of Seligman is more appealing to me. As a Jew, he abandoned his own religion, had a great interest in sex and blasphemy, kept a sufficient distance to watch and comment, and used his own thinking to constantly influence Joe's story . It seems that Joe's telling is leading the story. In fact, each opening is inseparable from certain objects in Seligman's possession and his enthusiastic analysis. The narrative and commentary of the two are constantly interrupted, and the Constantly starting over again, it contains self-analysis, improvisational lyricism, conscious description, childhood memories, etc., forming a narration similar to the hidden narration in Rasteel's previous works, although there are some paragraphs of lines that still make people feel a little bit. Pretentious, but I have to say that it is much smarter and more interesting than the original narration method of stage drama.
In this movie, Rasteel borrowed a lot of things he had played with, auxiliary lines, chapters, word hints, part collage, screen changes, etc. The skills he mastered, he worked hard, and used all the skills he could use. , the effect achieved is also interesting, but I think that sometimes, returning to the simplest way is the most powerful, that is, returning to the camera, which is why I don't like Rastil, focusing on gimmicks makes the work dazzling, watching It looks good, but after pulling out these "useless" things, you can notice his other basic shot composition, which makes people feel ordinary and uninteresting, and therefore disappoints: for example in Joe and Jerome's Lin Walking in the middle of the film, the director hopes to use close-up shots to pursue a beautiful scene that looks like a dream but not a dream, but the effect is very general. The outstanding ones such as Cauchy's "Adele's Life" also have similar scenes. After comparison, you can know what the gap is. . But I don't dislike Rasteel, he can constantly tease the audience's visual nerves with tricks, applaud his clever ghosts, and the most important point is that although he will disgust and disgust some audiences, he will never Don't let the audience get bored.
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