The more exchanges, the farther the distance, the deeper the reflection, the greater the pain, and eventually will inevitably be self-trapped and spiritually banished. Based on similar expressions, I think "Hibernation" is actually a tribute to Tarkovsky ("Homesickness"). It's just that Ceylon abandoned its previous expertise this time and started anew, using high-density and highly speculative dialogues to attack each other, and the pain of the skin made the film present another form of silence and deepness. Compared with "Homesickness" going further and further, the processing of "Hibernation" after going around and finally returning to the original point is more like a supplement to the former or another conceptual interpretation. It must be pointed out that this kind of exploration, which mainly relies on lines and can maintain high-end but not artificial vision, is also very scary in recent years of art films. Even if some of the dialogues from Chekhov are removed, the script can still bear the breadth and breadth. In other words, its advantages in terms of vision are much better than other works of this year. Compared with this, the narrative craftsmanship (setting horses, rabbits, thawing, crying and crying monologues) seems to be insignificant. What is puzzling is that many people are accustomed to summarizing the 2014 movies as "Little Years". I don't know where this term is based. In my opinion, only one "Hibernation" in 2014 is "big" enough. Now, in the Palme d’Or in recent years, I can’t think of another one that can stand side by side with it.
The works of Mike Lee, an old-school film gentleman, are always: the script is good, the performance is good, the scene is well scheduled, but the intention is obviously deliberate. Although people feel solid and lively, they can't help being well-behaved. The main lack is the lightness and agility of temperament. In "Mr. Turner" this time, the previous advantages have been maintained, but the usual weaknesses have been eliminated. The emotions are rare to be introverted to the dumb and suppressed. Turner's painting style is used to shoot Turner's life. It constitutes subtle intertextuality in form and content, and basically has no shortcomings to pick out. It is a standard masterpiece.
"Mommy" wins with sincerity. The director, with his full, passionate feelings and extremely creative form, made an arrogant and splendid story of a habitual family relationship, and every minute is full of personal labels and imprints. And horizontally, the value of the young Dolan for Cannes lies in the turbulent hormonal breath from the inside out and the original vitality regardless of the lingering life. Splurge but don't know it is splurge. This is probably the case for the young and strong. reason.
Like Dolan, Alice Lorva, born in 1980, should naturally be a newcomer to Le Cannes. Her second personal film "Miracle", but she has a simple and natural, quiet water flowing deep temperament, which is especially valuable. It is the posture conveyed by the film, without desire, unreliable, as if the singing of a tall building in the distance, faint with the wind. In contrast, "Second Window" and "Leviathan" are densely packed with symbols and metaphors. This imposing patchwork style of shooting is only contrived and utilitarian. Of course, in the last two personally hated films, "Leviathan" still maintains a perilous tendency to change, which is more than the "Second Window" take for granted and there is no tension at all. Slightly better.
In addition, "Jimmy's Ballroom", "Star Map", and "Two Days and One Night" can only be described as mediocre compared to other directors' previous works. "Jimmy's Ballroom" can be found in many "Hollywood epics". Similar to the bridge section and the shadow, the plot can almost be predicted downward in the way of one life two, two life three. The problem with "Star Atlas" is also new wine in old bottles. It's not perverted enough, nor is it wicked enough, basically it belongs to the category of forgotten once you have seen it. "Two Days and One Night" at first glance is still a typical Darnet brothers, but the several reversals at the end of this time can't bring the skills and strength that were used to it.
The third category of films is an intermediate stage between good and bad. It includes "The Biography of Saint Laurent", "Fox Hunter", "Sirs Maria", "The Sorrow of the Birds" and "Send the Countryman". As an anti-Hollywood biopic, "The Biography of Saint Laurent" and Piara's "Van Gogh" have a long history. Avoiding the memorabilia, first restore the celebrities to real people, and assemble and collage their emotions and desires with trivial fragments. Although there are many crab eaters in this direction, the effect may not be unsatisfactory. The reason is probably in the high and widows and the snail shells. In the dojo, there is still the problem of precision and precision. In other words, if the anti-narrative narrative is reduced to a gesture, the audience will have no patience and schizophrenia, and follow the idiot.
"Fox Hunter" revolves around the confrontation of three men, and it is rare to always maintain a relatively neutral perspective. The eye-catching "Mr. DuPont" and Dusit from the recently normalized HBO series "The Jinx" are quite similar. That is to say, although the film has an in-depth exploration of the causes, the true position of the characters is always hidden. It is the key to the film's complexity and depth. "The Jinx" did a particularly good job in this regard, and even though Bennett Miller had been very restrained, the fox's tail was still exposed a few times (after the mother died, watching the movie before shooting, etc.) In fact, this kind of subjective lens is not worth mentioning.
There is no problem with the completion of "Sirs Maria". It is similar in themes to "Birdman" and even forms a kind of role correspondence invisibly. Michael Keaton has really passed away before, and Juliet Binoche is obviously just thinking about danger in times of peace, the truth plays the truth and the false plays the truth, which one is true? From this, we can also talk about the usual propositions related to movies, such as truth and falsehood and the set of dramas in the play. It probably starts with "You Flee, I Escape" and "Sunset Boulevard", and look at the three major festivals in recent years. "Copy as it is", "Venus in fur", "What you see is nothing", "Caesar must die" and "Birdman"... Why does this subject matter still appear in groups until now? It's not that the movie itself is bad, but it's that it's really easy to cause aesthetic fatigue.
"The Sorrow of the Birds" has a well-known perspective, the main realistic card. The all-round and general posture is like a foreign reporter who has faithfully completed an interview task, but it is difficult to remove the sense of isolation that oil is floating on water. The sweep of the French Caesar Awards is a bit surprising, just like Iraq’s 2007 Asian Cup win. "Send the Countryman" is not an authentic Western movie. Compared with the usual genre, it also has perspective switching skills and lamenting the feelings of women who sigh the time. However, the many contents that fill the story, from the plot to the details, are indeed still " Courage and responsibility to bear the old stereotype of being silent and playing cool. For this type to be good-looking and innovative, I guess it would have to be Quentin's kind, more stubborn, brutal, bloody, and more unexpected.
There are also two movies that are not easy to summarize and compare. As far as the content is concerned, "Goodbye Language" is equivalent to not watching it. It is said that the visual effects of 3D and 2D are completely different, and the selection criteria are still conceptual. "Savage Story" relies on the collage of six independent absurd short stories. It is pleasing but also hard to say surprises. It is a bit interesting but it only ends here. If this path can be connected by a side line or achieve a certain degree of unity, Like "Seven Neuropathy", it can be separated and closed, and the weight may be heavier.
"Search" and "Hostages" have not been seen yet due to the temporary lack of resources.
Finally, I will talk about personal choices. "Hibernation", "Mr. Turner", "Mummy" and "Miracle" must be selected, "Second Window", "Leviathan", "Jimmy's Ballroom", "Star Map", and "Two Days" "One Night" must not be selected for these five films. In the candidate films, "Goodbye Language" has reasons to choose or not to choose. For the other three places, I would like to recommend "The Biography of Saint Laurent", "Fox Hunter" and "Sirs Maria". Therefore, looking at the final list given by the judges, the relationship and the pork can be divided so evenly on the premise of ensuring that the masterpieces are not missed. It is also an excellent display of taste and intention. The individual represents only the individual, to the head of Jane Campion The members of the jury pay tribute.
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