The sky is broken, the village is like a dream, the wind is howling, and the corpses are lying on the ground. On the abandoned land, people play the era of extinction with their steps, and the night clock keeps roaring.
Bellatar is immersed in the pinnacle of mirror movement skills. The unconventional twelve acts and nearly forty long takes advertise an ode to death that transcends the times. The top scheduling and flexible camera movements beautifully show objectivity. The polysemy space of contradiction and subjective silence, the ritualized scene layout and the frequent use of lateral shifts have greatly deepened the sense of fate of the film. , Bellatar's long shot of interlaced lens movements without any sense of stagnation is dashingly highlighting the filthy materialized life
Calm and powerful, with distinct layers, this is the Qingming (yes, that's right, I watched this year's Qingming Festival) in the 7.5 hours of viewing experience, the film gave me the greatest feeling
The display of paranoid personal style, seemingly messy, but in fact, the human nature is vividly revealed in the script with a perfect logical framework. The poetic technique tells the story of a real world where everything is silent
Fate is in vain, nothing more than this
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