Fragmented second brush notes are not film reviews, and 140-word broadcasts really can't hold it.
Second brush star: maintain A+ 9.5, maintain the top 20 in private film history
1. Concept
Concepts are fully embedded rather than castles in the air, making the narrative fully participatory and immersive as it progresses. In contrast, Rubik's Cube, although it has a very similar concept (and also discusses middle-class art and morality), its core concept is more like a light radiance, and the concept of "Into the House" fully grown. Strong roots.
2. Metaphors
Metaphors are laid out in a network rather than hierarchically constructed, so characters and other textual elements are not only intertwined with reality at the outermost layer, but also at the junction of reality and symbols as a whole. Almost escaped into nothingness and accumulated the vitality between the lines.
3. Image
It is not only because of textualization that the virtual and the real come into being, but the constant leakage of the gap between the image and the text produces the ultimate narrative torture of the film. If most of Ou Rong's works have images in second place, then this one has an unparalleled almost independent tenacity. Because it constantly violates the inertia of sticking to the text, and constantly generates a strong tension with the text.
4. Narrative
Unlike many classic films, which leave multiple narrative perspectives (personally recalled some works by Billy Wilder, such as "Double Indemnity"), but keep them constantly drifting and changing to maintain their presence, mysterious poetry resulting. Compared with the complete ambiguity of "Murder in the Pool", "Into the House" excels in its just-right, plausible clarity. In a narrative that is relatively detached and shows the director's control more, Ou Rong has approached the meta-narrative in the true sense and escaped from the general debate between reality and reality.
5. Theory
It's not just readers who react to criticism and deconstruction (of course this is the basis of no doubt). It is possible that all Western literary theories in history (nonsense) can find appropriate interpretations in them. It is not only a theoretical narrative practice, but also a theoretical refinement of narrative.
6. Ou Rong
Why is the audience's self-imposed participation not being self-indulgent. The fourth wall, which appears to be intact, is actually broken—perhaps a brilliant way to break it.
Ou Rong was the one who sat in the last row of the classroom and was everywhere.
I hope Ou Rong will have better works.
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