The photographer-turned-Dutch director Cobain presented us with this typical mediocre film of what to shoot and how to shoot. The general feeling is that a 10mm warhead was fired from a 100mm round.
The whole film was mainly shot on location in Abruzzo, a small medieval town in central Italy. The images are extremely elegant, the tone is solid, the rhythm is stable, the editing is natural, the language style of the film is clear and exquisite, and the director's narrative purpose is concentrated and not scattered... All in all, all the technical compliments are outweighed by the tedious, bland, and poorly written story it tells.
Clooney, a middle-aged man, is a professional killer. He leaked his whereabouts when he was picking up girls in a deserted villa in Snowfield, Sweden. . Then he sneaked into Italy and found refuge in his upper house, who arranged for him to hide in the small town of Abruzzo. The small town is quiet and leisurely, and the life atmosphere is pleasant. Clooney met the priest who took the initiative to strike up a conversation with him, and had two casual contacts, and he lightly described the road of God and the road of killers. (Thinking to cut into the humanitarian theme from here, the priest is just a shadow puppet in the end.)
In order to feed his dick, Clooney had to go to a prostitute. The heroine Violante entered the venue naked. One or two, Clooney said, "I'm here to play with you, not to let you play with me." Cool words disturb the hearts of Violante whores. The third party, prostitutes the truth. Violante asked Clooney to take her to America (thinking to cut into the true love of the prostitute Lan Xin and the killer's poor road from here, in the end Violante was just a deeper shadow puppet, because there was a lot of drama.)
During this period, the last family gave him a sale and made a sniper rifle for the beautiful killer Abruzzo. Scola has clear eyes, slow coffee on the street, beautiful shadows at the station, and breasts lying on the side of the stream. When he tried the gun in person, his eyes were full of trust in the handsome man Clooney and hints of "looking for a gun" , (Thinking that Clooney was going to give her a meat gun, thinking that Scola would have a terrible gunfight after getting the gun made by Clooney, because the movie repeatedly showed the exquisiteness and craftsmanship of Clooney's gun, but In the end, it was Clooney himself.)
During the opening film, the forces that wanted to kill Clooney sent a killer to sneak into Abruzzo, and was overturned by Clooney. (I thought that the force behind the killer was the biggest enemy of this film. In the end, this line was gone, and there was no end.)
Two-thirds of the way through the film, Clooney told Shang Jia that he would retire after finishing the vote, so he didn't disobey the middle man, so Shang Jia decided to kill Clooney, and it was the beautiful killer S. Coralut, who went to Abruzzo himself.
Then in the finale, Clooney saw through the conspiracy of Shangjia and Scolarut, and fiddled with the gun. When the beautiful killer shot, the eyepiece exploded, but he killed himself. Before Clooney got the money from the beauty to buy a gun, he gave the money to his prostitute girlfriend Violante, and asked her to wait for him by the creek where she had dated. Clooney also shot at Shangjia in the street. After killing Shangjia, he was also injured, drove to the stream, and died in front of Violante, who was waiting for him.
That is to say, the plot in the second third of the film is halfway through the car and jumps in. All the stories in the first two thirds change lines in the second third or even turn to the final conclusion. Yes, it's not flip and bizarre, it's dramatic. If you don't want to, what do you say he does? ! If you don't want to go to Rome, why did you unfold a map of Rome when you set off? !
I kindly estimate that Coban's film is a propositional composition. When he got a mediocre story, he still had to shoot it, and he had to shoot it well. Maybe he didn't have the right to modify the script, and he was even deprived of editing rights. , I worked hard on light and shadow composition and stylization, but in the end I couldn't escape the mud pit of what to shoot and how to shoot extremely asymmetrical mediocre works.
I remember Liu Yijun, a director in China. Except for two or three films that he invested in, most of his works are propositional compositions. Unlike Kou Ban, almost every one of his propositional compositions has insufficient budget and has to spend all his money. The brains rely on the shooting method to make up for the unprofessional constraints of the poor filmmakers, mediocrity, almost doomed.
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