The 13th #法罗岛电影节# The 2nd screening day of the main competition unit will bring you "April Three Weeks and Two Days". Here is the painful and desperate evaluation of women in the frontline cold society!
Polaris.J:
Too good! ! !
Matsuno empty pine:
Neuropathy, I said you are neurotic.
George:
It's very depressing. The sketch characters and the society are divided into three parts. Each group of characters is very interesting and wonderful.
The song is wrong:
There are two kinds of horror. One kind is presented in front of you upright and the other kind hides in the dark but is everywhere. I am even more afraid of the second kind.
Jeff Jiang:
Replay, a masterpiece like a textbook. The two female characters who are so desperate and at a loss can always appear in the most accurate position in the movie with the most accurate body posture, technically.
We Min Hee:
Come here, there is no turning back, bite the bullet, and go down on my knees. The unscrupulous doctor's section was naturally very scary, but the later dinner party that looked lively was a different kind of horror.
Bat Bats:
The heartaches of life are handled with extreme precision. Following the characters is the best way to tell a good story. The same is true for making movies. After the abrupt ending, there are endless whirlpools and lives.
Sparrow:
The single lens creates depression, with timely silence, dialogue guidance, and the characters are extremely delicate and realistic. The insignificant existence, the fucking roommate, allows people to see the difference in human nature and the forbearance of the individual. Stimulate.
Mozart Lenzu:
The simplicity without a trace of impurities has the power to hit people's hearts directly. Human nature uses social systems and rules to squeeze disadvantaged groups, and every role is a microcosm. When all the roles are finished, the sympathy for the heroine becomes an accusation against the society.
Little Love Songs of Paris:
The depression and pain of women in the social situation are infinitely magnified in the hand-held long lens and composition. The quarrel in the small room, the fear caused by the unscrupulous doctor, and the seemingly lively banquet all exude depression. The most desperate thing is that the long dark night holding a stillborn child is simply creepy. Even so, there is only one sentence left, don't mention it again.
Supremacyacron:
This is a revolutionary friendship in turbulent times. Through a small incident, the dark veil of the entire era can be unveiled, and the pattern and ambition can indeed be seen. However, I personally feel that the film is relatively more valuable in that it can reflect on its own situation by analogy under such a background, and the consciousness of women is gradually awakening in a depressed state.
Outisss:
A movie that makes me uncomfortable from beginning to end, probably because my acceptance of this kind of movie is too low or because of my fear of fertility, I don't want to look at this movie directly. Although the director has a strong grasp of the rhythm and full of tension, the depression from the camera still makes me breathless, depressed and angry. This is the feeling this whole movie brings to me.
Full of Zhao+:
It's suffocating. The middle-aged uncle, who is frustrated in life but is desperate to squeeze others when he can squeeze others, is too suffocating. The noisy, seemingly enthusiastic family dining table that is full of class superiority and patriarchal control is too suffocating. Gentle and pure in exchange for the cowardice and escape of friends and lovers are too suffocating. The real blood-stained lump in the towel is too suffocating.
RIVER:
Rooted in the repression and horror of the high-pressure environment, the abortion incident depicts the social picture. The length is short and thorough. The two protagonists experience a long and painful self-castration like the melting iceberg. They abandon their bodies and throw away all the things. Dignity and rights, humblely begging to live in the present, with innate and unchangeable sorrow, ramming confusedly in the dark night, breaking the blood. And everything comes down to the final blandness, don't mention it, it seems to be forgotten, but forgetting is the laziest and most memorable comment on this and countless horrible experiences.
No one at midnight:
The ill-conceived complicity among women is actually just for self-saving by compromising. One person sacrifices his body in exchange for another person's body to be invaded. In this land, none of them have the right to dominate their own bodies. The feeling of coldness, depression, and suffocation under the fixed position is greatly strengthened, and every scene is terrifying. She didn’t know when she was pregnant, but she was about to plan her death. She thought she was the rescuer, but in the end she was hurt the most. She thought she could be the lucky exception, but she was the only one who accompanied her in the dark. The temperature comes from the stillbirth in the arms. They are abandoned, they devour secrets, and only themselves are left.
O. Yin:
The restrained audio-visual use and calm long shots run through every scene of the film. The audience seems to be watching everything happening on the spot, but they can't do anything. Gabita is the representative of the image of the young woman in question, cowardly and even somewhat stupid and selfish, while the out-of-position male character can only talk about it at the dinner table. The heroine's love for Gabita is amazing, but this dedication is not equal. The film did not usher in a new climax in the plot after the abortion scene, until the final table scene, the two girls sit in silence under the symmetrical composition, and the background is the people who celebrate the wedding banquet—the indifferent social people on the outside and inside. The crowd is an accomplice of many people's suffering.
Bob_Chow:
Excessively real, the portrayal of the characters is tightly embedded in the narrative, and there is nothing redundant. Indoor fixed camera position, hand held when walking, the viewing angle is cold and unmodified, pure and slightly monotonous at the same time, but it admits that it is powerful and deep, but it does give the audience no less than the oppression, panic and discomfort of the suspense film. The general environment and social background seem to be unnecessary to say, but there is a sense of alienation from the space where the character is located. Life and body form a short-term binary opposition, but the simple and transparent structure of the script did not completely pull apart. Instead, it stabbed and drew the knife to stand up, leaving the audience's heartache on this straightforward female rights motif, which is not enough. Contemplate higher-dimensional relationships. The dialogue spreads out the content that should have been presented by the image, and makes up for the pure perspective, like deliberately or unintentionally revealing the context to the invisible audience in the room.
Bwheat19920313:
It's really good, but it just feels like something is missing that impresses me. The film is clearly divided into three stages: "before abortion", "during abortion" and "post-abortion". I personally feel that only "abortion" is the real master part. The narrative of "before abortion" makes people confused. It gives people a not very good impression. In the "post-abortion", the heroine goes to her boyfriend’s house to eat and argues with him. It is obvious that she has a certain intention, but she really seems very deliberate, but after returning to the hotel later A series of processing is quite outstanding. All in all I think this is a high-quality work that can reflect the cold reality of that era, but the operation at certain stages is not well grasped: it is commendable to respond to a kind of helpless pain, but once the method is deviated, The effect will be greatly reduced.
#FIFF13#DAY2's main competition score will be released for everyone later, please wait and see.
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