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Rhythm and sense
Kelvin 2022-03-25 09:01:18
"Sils Maria" is actually a great story, the characters in the script are well set, and the meaning of the snake cloud is also beautiful, which is a big plus, but Assayas is still too talkative to me, and it has dramatic meaning He pours more on the characters' dialogues, and the images are relatively quiet and straightforward. Of course, this is his stylization, not a technical problem, so there is no basic quality level. I said that the video includes a montage of camera images and sound. For example, from the sound, I will reflexively compare his wife's love. The sound of her video is too sharp, especially compared to the atmosphere of outdoor scenes, which are somewhat similar. Walking in the wild space, Assayas makes me feel that the environment is more inclined to symbolic, more flat sound, and the sound still serves the dialogue of reality; in terms of camera movement, Ah's calm and subtle staring process is sometimes dragged too much by the camera Longer, but counteracts the effort to simplify reality. Then, his sense of rhythm is strongly controlled, like a lake, and what he loves is the sense of rhythm flowing out, like the Loire Valley stream in goodbye first love. The rhythm and what senses are highlighted determine what kind of poetry a person tends to like, and also the individual's different ethics of flow.
Extended Reading
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Maria Enders: Jo-Ann?
Jo-Ann Ellis: What's up?
Maria Enders: I wanted to ask you. You know the scene at the beginning of Act 3 when you tell me you want to leave and I get on my knees and I beg you to stay? You're on the phone ordering pepperoncini pizza for your coworkers in accounting. You leave without looking at me. As if I didn't exist. If you could pause for a second. Helena's distress would last longer when she's left alone in her office. Well, the way you're playing it, the audience follows you out but instantly forgets about her. So...
Jo-Ann Ellis: So? So what?
Maria Enders: When, when I played Sigrid I held it longer. I thought it was more powerful. Erotically. I mean, it really played well.
Jo-Ann Ellis: No one gives a fuck about Helena at that point, do they? I'm sorry, it's pretty clear to me that this woman is all washed up. I mean, your character, Maria, not you. And when Sigrid leaves Helena's office, Helena's a wreck, and we get it. You know, it's time to move on. I think they want what comes next.
Maria Enders: If you just held it a few seconds longer.
Jo-Ann Ellis: It doesn't really feel right for me, Maria.
Maria Enders: You're right. Yeah. I - I - I think I'm - I'm lost in my memories. You think you've forgotten your old habits, but their all - they all come back. Have to break them.
Jo-Ann Ellis: I guess you do!
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Piers Roaldson: [Piers proposes new movie mutant role for Maria] I'm trying to consider genetics from a more human point of view.
Maria Enders: When I was reading it, I imagined someone much younger. Maybe me younger, actually, but you were seeing me in movies that were made years ago. I - I've changed.
Piers Roaldson: She has no age. Or else, she's every age at once. Like all of us.
Maria Enders: Can I be frank? Maybe it's because I'm working with her, but as I was reading it, I - I kept thinking about Jo-Ann.
Piers Roaldson: Yeah, well personally, I never think about Jo-Ann Ellis.
Maria Enders: You're wrong. She's smart. And talented. She's modern, just like your character.
Piers Roaldson: My character isn't modern. Not in that way, anyway. She's, outside of time.
Maria Enders: Outside of time. I don't understand. It's too abstract for me. It's all right.
Piers Roaldson: I - I don't like this era.
Maria Enders: You're wrong. It's yours!
Piers Roaldson: Amen! I didn't choose it.
Maria Enders: [laughs]
Piers Roaldson: And if my era is Jo-Ann Ellis and viral Internet scandals I think I'm entitled to feel unrelated, aren't I. I mean, it's nothing against her, I guess I just assumed you'd understand.