as long as the resolution is high enough. A turkey also has expressions. A slap on the table on the screen is enough to make the sensitive audience in the soft chairs of the cinema jump.
The instant memories of the downed Billy, the sound and the picture, a small flashback, worth a small earthquake.
Billy Lynn, the focus is no longer on audiovisuals, but on being in it.
"Immersive Digital Technology" 120fps, 4k, Dolby. Sound and image are not a combination of new gimmicks, nor is it an exploration of formalism, but a new fusion of form and content, a new upgrade formula.
Lynn's theme isn't war, it's "reality" - what is real? What is a show?
What technologies like 120 break is the screen itself, mixing "show" with "real".
The first floor, 120, collapses the virtual wall of the screen, and the audience enters it.
Plenty of over-the-shoulder lenses, as well as telephoto subjective lenses. Sports lenses do not account for much. Even so, it was dizzying enough.
It feels like watching TV. Then, I entered the TV, the screen disappeared, and I saw the performance itself.
On the second floor, the soldiers entered the "show".
The soldiers became part of the show. They have to consider their own character traits. Ask: What does it feel like to kill? How do you feel about fighting enemies in close quarters?
The soldiers took to the stage to accompany the patriotic and dynamic songs of the goddess of destiny. Yes, just walk off the stage like this, then don't move, and wait for the song to end.
They are the show. An episode of a gorgeous show, an element.
In the third layer, in the stagnant time, scars are confused with celebrations.
Fireworks are festive props for the public; for the soldiers, it stirs sensitive nerves.
Open the passage of the two midfields (the midfield of the war, and the midfield of the game), a bright black hole, a puncture point.
For Da Bing, this is not a show, but a time-travel, another kind of truth.
The fourth floor, Billy and his comrades, is no longer a flesh, but a mediated legend.
The sexy cheerleader fell in love with the heroic story she posted, kissing a media myth, not a concrete flesh - Billy Lynn.
And Billy, who stayed in Texas, meant nothing to her. (This goes against the screenwriting logic of a show). Her love is the behavior of fans watching the show and the secretion of media sentiment.
From Hollywood producers and investors, it opens up another cruel vision of the consumer society.
Businessmen are more frank, they say: people move on! Do you think you will always be there as a hotspot? Will people care about you?
The thousands of dollars I give you is the only bid!
In the show world, Billy's stories are entertainment. Just like dancers and pop songs.
Their value is to lift their pain over and over again. After the lights go out, it's best to evacuate as soon as possible. so as not to become an unwelcome obstacle.
This is cruelty in cruelty. The value of "showing" in the spotlight is no longer true after the lights are out.
Layer after layer, such an intentionally nested structure, 120 frames is the most important entry.
As an audience, I would say that technology brings a strong sense of sprawl.
The viewing experience is very sticky. Off-screen-on-screen-show-battlefield-memories. The movie sprawls, crawling off the screen, or a sense of reality is pushed into the narrative, and reality evolves into nightmares and longings.
What a grand and delicate spread.
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I watched the 120, 4k high version, but it is conceivable that for such a work, watching a different version means watching another movie.
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