Wong Kar-wai's "Hand" is the longest section of the film, and he also describes the longest time span, describing the ups and downs of a courtesan's life in just 40 minutes. The background is Hong Kong in the 1960s, but in fact it is still based on Shanghai in the 1930s, with dark yellow and gloomy, flickering cameras, which is Wang's traditional route since the beginning of the Mood for Love. The structure of Wang's story is relatively complete, but because the relationship between the length of time is a little rushed, it does not feel very unified with the latter two parts as a whole. Many of the symbolic elements are well represented, and the close-up capture of some movements expresses the "tactile" effect that Wang seeks, and explains the oriental sense of sexuality, which is obscure and ambiguous. Soderbergh's "Dream" is very obscure, creating a strong contrast between the blue dream and the gray real life. The behavior and words of the characters are also extremely absurd, and it feels like a cross mental analysis. However, the structure is quite messy, and the expression is difficult to understand. Perhaps this paradox is the effect that the director pursues. To a certain extent, the dream and reality are mixed together to reveal the hazy and unknowable sex. The finale is Antonioni's "Desire", which is still a poetic shot, a flowing narrative structure, and a slow-moving shot. The characters in the play frequently perform celestial dances in front of the camera, trying their best to interpret everything with their bodies. I think this feeling may be Antonioni's current portrayal. That scene of sy has a strong sense of powerlessness. When you get old, there will always be some mysterious and unknowable things in your thoughts and images, and maybe only when life It only resonates when it is exhausted.
In general, Wong Kar-wai's part is more beautiful, Gong Li and Zhang Zhen's performances are also very exciting, Gong Li's ability to handle the role has been perfected, and Zhang Zhen's slightly evil temperament is also very suitable. Both Soderbergh and Antonioni's passages are relatively obscure and prone to drowsiness. The entire film is like a blurry erotic image interspersed in each segment, an interpretation of the primitive nature of human beings. Perhaps it is an indescribable nature that is like a dream and an illusion, so there are vicissitudes in "Hand", some indistinguishable in "Dream", and some religious worship in "Desire". Pampering, admiring, betrayal, possessing, all kinds of feelings eventually come together, and sex is just a human instinct.
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