2. The texture of Fujifilm's film is really different. It is said that there have been endless debates in the professional film and photography industry as to whether there is a difference between Fuji and Kodak's films, what kind of difference is there, and which is better. I have developed a habit now that I must see the end of the subtitles when I watch a movie, and see if this visual experience has anything to do with the film. After watching the subtitles for more than a year, I did find that the more contagious visual experience is indeed Fuji. A few films that I found soft and gorgeous in color and texture during the filming process, such as "New Version of Mrs. Chatterley", "Requiem for Billy the Kid", "Boarding Gate", and this film. When I see the end, there will be FUJI films. The big LOGO jumps out. Kodak has a relatively strong ability to restore the truth to a certain extent, but it is apparently rigid and lacking in vitality. Fuji is extremely malleable, and it can easily achieve strong effects for any color and texture rendering, especially for the highlight of warmer tones. The golden fields in "Requiem for Billy the Kid", the verdant green in "Madame Chatterley", including the warm red light and shadow effects of the film in the night scene, are Fuji's strengths. Kodak can't produce this effect at all. However, it is said that under the influence of Hollywood, the United States is Kodak's world, and Kodak is the absolute mainstream in China. Fuji's real market is in Europe.
3. I think it took a lot of energy to invite so many foreign big stars. In the end, Comrade Wang Jiawei was still talking about the same thing as ten years ago. Does he himself feel bored? . The exact same elevated subway, framed slow motion, telephoto close-up. The characters are exactly the same, the story structure is even the same prop key, and even Nora Jones's actions are the same as Faye Wong back then-except that it is replaced by a foreigner with a high nose and blue eyes. I think that foreigners are fundamentally different from Asians in their ways of doing things and thinking habits. The same thinking and emotional logic can have a shocking resonance effect on Asians. When they are foreigners, they can only be unacceptable: they In fact, I feel inexplicable about the emotion of this park. Many foreigners fell asleep on the spot after watching "Love Letters," which is unimaginable in Asian countries. So Jude Law and Nora Jones' emotions were untenable from the beginning. The former was obviously Takeshi Kaneshiro with a mask, and the latter was Faye Wong with his legs sawed ten centimeters away. Real foreigners don’t exchange emotions like this. They won’t stand downstairs and cry and shed tears. They won’t shed tears from a big man in the corner of the room, and they won’t covertly lick her mouth while the other person is sleeping─ ─Isn't this a pervert in a foreign country? It's completely out of touch with tenderness.
4. The best part of the whole film is the short period when Jude Law and his ex-girlfriend met. Cat Power feels just right. The way of speaking, voice and expression are extremely authentic. It has brought the atmosphere of "Eastern and Western Food" back to New York. Listen to the album). Before this paragraph, I always felt that these people were staying in Hong Kong where it suddenly snowed. Although, the line that Teacher Wang Jiawei gave to this girl finally revealed a big fall: I have never seen a foreigner in such a sad way to go around a familiar place before leaving a city. The people I know all make up their minds to set off, so excited that they can’t wait to lift their feet and leave. What lies ahead of them is a stimulating and mysterious future, not a past worthy of nostalgia. This is the thinking of Westerners. state. Nostalgia is really the most traditional Asian concept.
5. Without the above short paragraph, and a few gorgeous and unusual photography clips, including the casino section, the "advertising shot" of the beautiful Jaguar, and the breakup of the two girls at the end of the film, the film really would have failed. Although the level of photography in "The Seven Deadly Sins" is also top-notch, I think it's not as good as Lao Du. There is only effect but no emotion. And there are a few paragraphs that are obviously not going to be able to go back to Hollywood. I want him to shoot Wong Kar-wai, just like letting Lao Du shoot "Water Monster", it must be awkward.
6. Comrade Wang Jiawei's biggest mistake is that he relied too much on the plot and his familiar routines, and he did not anticipate the rejection of this Asian emotional transplant. In fact, his other advantage is his understanding of the combination of images and pictures, so there is no need to tie a splendid picture with a completely out-of-date story. It might be a new and interesting attempt to let the pretty faces of a few stars melt into a visual carnival. It's more challenging than repeating a set of clichés.
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