The blade of Sarkinsev's "No Love to Tell" is too sharp, even if it is not used to pierce the skin, just looking at the thin blade is terrifying.
"No Love to Tell" focuses the camera on a cold and depressing family. Both parents deliberately abuse each other, lose their burdens, and neither want a child who was not conceived with love. Either there is no dialogue between the two people, the person who is moving is no different from a piece of furniture, or even a piece of furniture to some extent, because the furniture does not look upset, or the quarrel is like setting off a bomb, for fear of not blowing up the other party. Mess to calm down their emotions, strengthen their moral stronghold, and satisfy the unequal psychology of "I am the victim". Such a family is always immersed in anger and venting. If a child lives in such a family, it is really the greatest misfortune in life, especially a child who is underage and has no independent financial ability. The only way to resist is to run away from home, or take revenge with his own life, or be in this kind of Growing up in the atmosphere, losing the ability to love, and having character flaws that are difficult to repair, maybe eventually he will follow the old path of his parents. What is terrifying is this infinite cycle, the depression that can drive people to death. Alyosha's mother, father, and grandmother are all part of this endless cycle. There is basically no dialogue, only infinite roars, where there is no love at all. The so-called "there can be no love in life", Alyosha's mother lives with the person she loves, but there are still huge cracks behind the ordinary life. The two seem to be strangers in the huge room, and they have no relationship. She looked at him and smiled, without rubbing her ears, without any intimacy. Alyosha's mother kept running on the treadmill, and finally stopped, her dull eyes seemed to be running forward, wanting to change, but in fact, she worked hard for a long time and just stayed where she was. There was no change between Alyosha's father and his lover. He avoided the lover's problems and had no joy in life. He had no patience, and violently threw the child into the protective box. Alyosha's departure is only a temporary blow to them, and the heart-wrenching pain is only temporary. Only the cold and depressed lonely life is permanent. The movie does not continue, and maybe they will face the same problem. What is the so-called marital love, what is the long-term relationship at work, or the maintenance of the word itself is the essence of the relationship. For a long time, the interest of both parties in each other will be wiped away, and living under the same roof can only be for face or temporary needs.
Sarkinsev sets up many metaphors in the film, such as the banners hanging on books, the police’s prevarication for volunteers to help, the mother running on the treadmill, the decaying and decaying residential buildings and the news on TV. The problems faced by Russian families are also problems faced by the country. Bureaucracy prevails, cold relationships between people, lifeless social conditions, Russia breaking up with once close allies, and the director's poisonous vision. in the movie. The shots created by director and director of photography Mikhail Krichman make people feel bitingly cold. Sarkinsev's films are always cold and dull gray, lifeless, and very depressing. With fixed shots, slow movements and explosive performances, people immerse themselves in each scene. In a seemingly calm environment, a storm will soon come, and the white space is very strong. When the director of photography chose each scene, he seemed to choose cloudy and early morning and evening, and shot inside in time. He also kept the picture very dark, and the dull atmosphere was very suitable. And some shots also have the shadow of Tarkovsky, such as the abandoned building. I prefer this method of photography. It basically uses more natural light, simple art design and simple lens movement, but I don’t let down the rhythm at all, and I can control the lens with ease. In Sarkinsev's films, the artistic principle of less is more is fully embodied. The biggest use of fixed shots is that the brewing emotions seem to reach the top, and then the editing is unloaded and breathless. There are also photography directors who prefer a large depth of field and do not use a small depth of field to fix the audience's line of sight. The last shot with the missing person notice on the pole is very powerful, and the angry stare reminds me of the last shot of Truffaut's "Four Hundred Blows", the eyes are frozen. It's terrifying to stare at someone struggling in a cold, loveless family like a ghost.
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