Putting the only one-hour "hand" I haven't seen in the middle of the viewing order marks that the viewing of this series is finally over halfway
The beginning of this film is more like an experimental "feature film" with a bit of a propositional composition. At first, the character relationships are mostly composed of hand close-ups, but it feels like patting? ️ The range of body close-ups that began to diverge has also expanded
It's hard to say whether this is an expansion of the original proposition or an off-topic behavior?
See also the overall style of this show in the 1960s is very consistent with A Fei and In the Mood for Love and 2046, the women's makeup and hair, the cheongsam, the men's suits, the oil heads, the wallpapers in the room, the color palette, and even the lights and rain on the street corners
Because of this, I can't help but wonder if this story can be linked with other stories in Wang's movie universe?
But this film is more like a symbol repeating the oil-headed suit with little eyeliner and Miss Hua in cheongsam, why can't it be another form of existence for Zhou Muyun and Su Lizhen in a parallel universe? After all, this film once again takes an hour To tell a sad story, to tell two people's own wishes but not able to
But it is not suitable for Zhang Zhen, Gong Li and Miss Hua. There is always a little bit of peacekeeping. One child who seems to be stealing an adult's leather shoes. In the middle of the day, I always feel that I am separated
The degree of "grinding" in this work is probably far from being delicate enough, and the feeling is far from being too delicate. It's probably because there are not enough "waste films" and not enough impatientness (am I fooling around?)
When I have time, I have to make up for the other two stories of Eros.
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