Several lenses and others

The editing of a scene is impressive and it feels very novel. It was just a small part of the bargaining between the two girls and Doctor Jianghu in the room. First, I shot the doctor doing the initial examination of Female A on the bed, and then the camera followed the doctor to the chair opposite the bed. At this time, Female A was no longer in the camera, only the doctor and the female B. Then there was a long bargaining. A shot; then, cut directly to the seated A. The content of what she said was the same as the discussion between the doctor and B at first, giving people the illusion that she had joined the discussion, but as the dialogue between her and A deepened, The viewer discovered that they were only negotiating in private; after the discussion, the camera pulled up and the chair where the doctor had been sitting appeared, which was empty at this time, and the doctor walked out of the toilet in the background.

This clip is very concise. In fact, the image style pursued in the whole film is simplicity. Although there are some follow-up shots that reflect the documentary and rendering atmosphere, the handheld camera sometimes shakes slightly, but after watching it, the simplicity is a deep impression. This is closely related to the director's editing of key scenes. Like the interesting example above, a lot of things are omitted, so it seems interesting. For example, female A sits up and the doctor leaves the room to go to the bathroom, all of which are omitted through novel editing. When I saw this, I felt a swelling in my heart, and suddenly felt something was moving. In fact, the director didn't use the conventional editing method of character dialogue.

The fixed long lens of course also makes it very simple. There is a very bold, long and big close-up, never seen before. The camera stared at the dead four-month-old fetus lying on the ground for a long time. Generally, for the shooting of this kind of things, most movies are swept away by a fast moving lens; more cruel is the container that holds it in a long lens shot to arouse the audience's imagination. But this long, bloody frontal close-up forced the audience to stare and think, the director is really cruel.

This lens is not only integrated into the aesthetic orientation of the film, but also fully expresses the director's questioning. Because throughout the entire movie, the director is actually trying to tell a story objectively. He embellishes what he wants to express in the background, the speech of the minor characters, and the time reminder at the beginning. The only active expression of his emotions (anger, sadness, thinking?) was actually in this close-up. It takes courage to shoot such a shot. When such a scene appears in an uninteresting movie, the creator will be called disrespect for life, or when another failed work that seriously discusses life appears in such a scene, it will also be regarded as grandstanding. This Romanian director who attempts to restore the darkness before dawn not only has the moral courage to use this kind of lens, but also has considerable technical strength.

Knowing shame is almost courageous. Cannes gave it the award on its 60th anniversary, not because of its slightly outstanding technology, but because of the courage of a national filmmaker to reflect on it. As for the rebound of Romanian films in recent years, the subject matter is all facing reality and history.

It is almost human nature to push all the guilt on a leader in order to avoid the examination of oneself by history. It's easy to blame Ceausescu, but it's hard to reflect on yourself. But everyone who has experienced that period of history has irreplaceable responsibility for the tragedy of history. The director tried to use the lens to restore the cynicism, coldness, and the mediocre life of people accustomed to the system in that era, and also tried to use the lens to find the background color of life that stubbornly grew in the cracks between the cynicism, coldness, and mediocre life accustomed to the system.

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