For those very yearning times, simply returning to a specific place is no longer helpful to the heart of desire. The cracks on the old skateboards, the blood-stained T-shirts, and the coke with ice cubes thrown in the distance. Without these objects, there is no The way people think in a period of time, no matter how true it is, it will not help longing. All I can do is try my best to use the thinking of that era to replay in my mind the joy of completing a certain skateboarding action for the first time, and the thrill of throwing a Coke. In this way, Jonah Hill remembered the era he was so yearning for.
The 4:3 frame restores the texture of DV, the perspective of the observer: the fixed camera rolls, the motion camera with the middle frame, slightly higher than the protagonist's low camera, like a passerby or neighbor, inadvertently paying attention to the skater boy’s Growth and frustration, and inadvertently entrained private goods, the vision of the night, the first successful skateboarding action under the extremely romantic lighting, and the discomfort of the sunset when the first time I was in the traffic with my partner. Realism. Presenting the era in memory instead of blindly restoring it is the key to achieving its tone and paving the way for its recollection. The plausibility after removing the genre elements is exactly the most primitive impulse of every yearning person for an era. However, removing the gentleness of the first half of "Boyhood", the genre elements and the excessive recording of rebellious emotions in the second half, and the style of the film back to the original point, the so-called pain points: friends’ jealousy, brother’s bullying, mother’s Scolding has long been reduced to a genre element of youth films. The introverted and inferior character of the little boy in the front, as well as the emotional and psychological changes in the continuous attempt to integrate into the group, were eliminated by the later Zhang Kuangrui and piles of type elements, and only one OST was left.
Ice cream and obesity belong to the memory of my childhood in midsummer. Lying alone on the mat after lunch, the screen window that moths raided last night is still shocking. Between the bed and the wall, there are rubber dolls that do not exist until now. When a long period of life is covered by a longer life, and after removing the overly personal trivialities, what pervades the thoughts is a certain fragment of plausibility, flow of consciousness, and such fragments are created in the film China is often better at restoring an era and giving it more personal emotions. In Jiang Wen’s "Sunny Days" in the midsummer, the mess of alleys in the capital was replaced by the cleanliness of memory. This creative method that follows memory rather than facts gives such a memoir movie the authenticity and harmony. purely. Fellini’s "Amacorde" is the same. The dusty bacteria in the sky, the peacocks after heavy snow, and the dance of demons in the fog are all memories that are unique to director Fellini in the small town on the border of Italy. It may not be true but semi-real. The precipitation of the century has made the "false" more direct to the viewer's heart. Laying like water is the most indulgent presentation of memoir movies, and it is also a reminiscence of the gentle pulse of the watery years.
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