Overreading and Tribute to Rome

Trudie 2022-03-26 09:01:05

How to say it, it is still good-looking, but it is too dependent on the onlooker of the camera, which makes it difficult to enter the characters. The space is coherent, but the emotion is more fragmented. Although it is still very powerful in scheduling, the core of this time is obviously that the mechanical movement that needs to jump out of the camera directly reaches the heart of the character. The only two scenes that make people feel quite emotional are the two fixed positions (birth + beach hugs), but it’s really just an objective perspective. If I want to show political appeals through humanistic care, in the final analysis, this kind of "epic" filming of Caron is still a bit unbearable. I can't help but think that if it is made into a grand narrative, it may be more powerful. Foam washes shit, ocean waves cover up scars, and human sighs don't count in the face of the turmoil of history.

Branson 2022-03-24 09:01:49

Prose narration does not constitute the main cause of the "weak image", on the contrary, it is a step-by-step increase in the concentration of emotions, allowing the audience to slowly let go of the pursuit of the plot, fully enter/experience the characters' hearts, and live in the era and space. , the audience sometimes becomes a bystander, and sometimes becomes a participant. But "Roma" is just a form of imitator. The editing and scheduling are all TV images. Everything is placed on one plane. To make it clear to the audience, the sense of time control and the narrative line are the stupidest connection (see above). In one scene where the owner was angry and asked the worker protagonist to hold the shit, and the next scene was really holding the shit), even if there is not much difference between TV and the big screen, the black and white makes the image too calm. Alfonso really combed 70 in depth. The face of Mexico in the 1990s? Most of the time, I don’t know why I moved. It seems to destroy the amount of information and stories for the sake of long shots. At most, he can reach the horizontal level and penetrate into the inner emotions of the characters and almost completely fail. Why does the relationship between workers and children deepen? As Hollywood superficial, Alfonso is not worth a question in front of Iosseliani, Olmi, Tati and Hou Hsiao-Hsien.