The first two scenes of the film are impressive: the empty mirror is fixed in the long narrow aisle in the house for a long time, the male protagonist is pushed out from the compartment and hit the wall heavily, the male protagonist’s brother rushes out from the inside and presses the male protagonist on. Beaten up on the ground; the camera stopped in a corner of the room, slowly sweeping across the scattered beds, the male protagonist stood in front of the mirror and checked the wounds on his body.
In these two scenes, the space as a stable object is first entered into the painting. After giving the audience enough time to gaze, the characters appear in the established space as intruders. At this point, the space has become a container for full bloom, which also indicates the relationship between the environment and the individual to bind and absorb.
It's a pity that the above-mentioned creative thinking of "space first" has not been continued. Soon, the lens focuses on the specific behavior of the characters, and the container of space is completely ignored. Why is the sense of space especially important in this film? Because "Mid 90s" focused on sketching out how individuals evolve and evolve in the community under the law of survival of the fittest, and become a particle in the vast living beings.
The director should see how Andrea Arnold and Sean Baker did in "Fish Tank" and "Florida Paradise." Like architects, they focus on building a complex and organic situational space. All the enclosed rooms, open neighborhoods, textures, temperatures, smells and colors are carefully integrated into a complete and huge system. The characters are drawn into the space and become Survivors who can't escape. So their plight becomes a kind of empathy experience that can be radiated, and their every move will firmly grasp the hearts of the audience.
The director should understand that the friction and collision between the characters and the environment is of utmost importance in filming the growth history of a teenager. And by no means, as shown in "Mid 90s", the dynamic shots are completely separated from the static shots, the characters float on the surface of the situation, the movement is like a posing, and the static is like a drama. The skater boy who has repeatedly appeared from one side of the camera into the picture, and the other side of the picture, the beauty is beautiful, and the soundtrack is enough to show the director’s good taste, but it is really lifeless (compare this year’s Chinese-American director Liu Bing’s explosive documentary " "Skate Boy", see you immediately).
The above is the breakdown of the creative method, back to the content itself. The unruly girl in "Fish Tank" was deceived by her husband and was chased and fell into the darkness; the girl in "Florida Paradise" was forcibly taken away from the prostitute mother and couldn't cry herself. . This is the power burst of the film after a long period of emotional backlog, and the moment when the vigorous pain hits the face, it can demonstrate the meaning of growth.
What about "Mid 90s"? Once broke out with his brother, once scolded with his mother, and once broke with the plastic friendship, she felt full of "sorrow for the new words". Not to mention the passage of mutual grievances with the little black brother, it is completely understandable. So it is not surprising that everything turned at the end of the film belongs to the happy ending of Peace&Love. This also represents the most Cliche side of Hollywood. A car accident, a visit, and all the difficulties are reconciled in this inexplicable warm atmosphere.
Please all Hollywood directors, please stop obsessing with this ridiculous "Let Love Heal Everything" creative idea. No matter how many swear words, how much alcohol, and how many drugs, such a weak story core can only become a non-alcoholic mocktail fake high game.
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