In Zhao Tao's section, Jia Zhangke's camera is soothing and gentle. You see her walking slowly all the way up and down. Listen to her slow Quartet inquiries. On the sultry night of the Three Gorges, she pulled the fan on the wall and blew her sweaty body. The first time we watched her pull the thread, the fan just turned its head, but the fan page did not start. When she pulled the second and third time, the wind came out, and she also pulled up her clothes so that the wind could flow in. The next day was the day she could see her husband. Such a silent record of a woman, Jia Zhangke did a really good job.
Zhao Tao, who just came out of the house the next morning, in that pea-yellow short-sleeved top, was a little more docile and flatter than the days when he kept walking. That's when I noticed this, the husband was taken by that husband's friend. It's a pity that she forgot her husband's first words when he saw her. Otherwise, you would know why Zhao Tao turned around and said, "I'm leaving." The woman's heart had been beaten to the point of loss by her husband. Then there is the scene between a man and a woman that I am most disgusted with, but it is also the most common scene between a man and a woman: Zhao Tao is walking on the road, walking in front, her husband is behind, driving a car, of course in the car, chasing after each other, from time to time Sound the horn. (I'm inexplicably sick of riding a car while chasing a woman). So seeing my husband get out of the car, I think the drama is still gentle.
Another long walk with Zhao Tao, her husband extended his hand to Zhao Tao. At this time, I was actually slightly moved. When Zhao Tao slowly approached her husband, and the two slowly leaned against each other and hugged, many were moved. After all, it was the first time in such a long journey that he lowered his head and leaned on that familiar body. It was just that the husband and Zhao Tao, who was beside him, twirled slightly, and danced with the music, using the usual dance steps. In this way, Zhao Tao slowly raised his head and left her husband's body. She was probably thinking of her husband's acting on the dance floor, her husband's indifference over the past two years, but what she wanted was not just acting, nor indifference, emotional indifference. During the dance step of the lever, her expression was stiff, gentle and indifferent and a little bit alienated, which was also very beautiful.
Those other little markers in the film are nice too. Big White Rabbit toffee, paper bag for tea, cell phone ringtones, mouse loves rice, two butterflies, and no dried wine. At the beginning of the film, the scene of the people on the boat slides slowly and is extremely beautiful.
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