youth gone.

Wilbert 2022-03-24 09:03:16

The plot is really simple. Two women in the room discussing women and movies, their lives and aspirations.

If the film is just two women sitting in a room talking, where did the $60 million for the film go?

This film not only touches, but touches, a huge industry country, but also how the actors act, and everything else.

We get to see the lives of real actors up close, in theaters where actors act according to scripts. In this movie, the script seems to be taken away. They want to play themselves and another person. They have nothing to do with each other, but they seem to have skin-to-skin relationship. What is difficult is how to get out of the performance that is too in-depth.

Perhaps in a movie, the purpose of an actor's performance is irrelevant, what matters is what the camera captures, what the director is looking for, and what to express. There are a lot of pictures of the cloud snake, in the documentaries in the film, but also in the occasional, in the search by all means.

The core of modern performance training is to give actors a sense of control, to convince them that what they used to maintain explosive performance in the past is not external, but internal. Therefore, the so-called acting school is to understand the thoughts and thoughts of the characters more deeply than ordinary people. The best performance is in peace, and the test of performance is whether it can convey emotion without doing anything.

For actors, acting is a high-risk, high-stress, anxiety-prone job. Actors even create new personalities in it, and even risk humiliation and ridicule. What's even more hilarious is that sometimes acting doesn't have much to do with box office.

The desire to play acting is natural and normal, but what is shown on the screen is not only the performance of the actors, but also the communication with the director and the angle of the camera. Actors' performances are largely derived from others.

Spotlights are the most nerve-wracking, filmmakers or PR people no longer tangle with reporters, and officials avoid newspaper pages. Social media has lifted stars high, and the Internet has become a permanent archive. But the most troublesome thing should be the camera, how to capture and retain love, instead of letting the picture be filled with endless emotions.

when i am no longer young and beautiful
will you still love me

When the star no longer has the spotlight, no longer young, do we still love?

View more about Clouds of Sils Maria reviews

Extended Reading
  • Selmer 2022-01-15 08:02:24

    Facial paralysis as always

  • Leanna 2022-03-20 09:02:34

    The most indispensable thing in the three major festivals in Europe is probably this type. The original copy of the birdman and the Venus wearing fur is not what you see. Caesar must die... Fortunately, I don’t receive much attention. I quite support this. As a result, we have to stop this unhealthy wind.

Clouds of Sils Maria quotes

  • Christopher Giles: Tastes can get worn out, kind of like desire.

  • Maria Enders: [Referring to the proposed role of Helena] Time's gone by and she can't accept it. Me neither, I guess.

    Klaus Diesterweg: There is no antagonism. It's the attraction of two women with the same wound. Sigrid and Helena are one and the same person. One and the same person. That's what the play's about. And because you were Sigrid, only you can be Helena now.

    Maria Enders: How can you be so sure?

    Klaus Diesterweg: You know as well as I do that Wilhelm Melchior had been working on a sequel for years.

    Maria Enders: Yes. But it was about Sigrid at 40 years old.

    Klaus Diesterweg: No, it was about Sigrid 20 years later became Helena.

    Maria Enders: So who's going to play Sigrid?

    Klaus Diesterweg: Jo-Ann Ellis. She did a superhero movie that just opened in the States.

    Maria Enders: And besides that?

    Klaus Diesterweg: Not much. She's 19. She's a lot more interesting that her interviews and profiles. She has a theatrical background. She doesn't want to be swallowed up by Hollywood. She admires you and is willing to pull out of her other commitments.

    Maria Enders: I'll listen carefully. But to be honest, the role scares me. Helena scares me. I'm in the middle of a divorce. I feel alone, and vulnerable. Probably too vulnerable to do this.

    Klaus Diesterweg: If you refuse, I'll understand, but it will be a missed opportunity, especially for Wilhelm.

    Maria Enders: I should get going.

    Klaus Diesterweg: Excuse me, but I won't be staying for dinner. Good evening madam.

    Maria Enders: Klaus, I have another reason. Susan Rosenberg. She played Helena with me.

    Klaus Diesterweg: I remember Susan Rosenberg.

    Maria Enders: She died in a car accident a year after. It's a superstition; I've always associated her death with Helena's suicide.

    Klaus Diesterweg: She was a lousy actress who didn't understand a thing about the role. And her conventional style of acting highlighted the modernity of your performance. You should be grateful to her.