Disappointed. No one brought an "acting level gauge". Masaharu Fukuyama's acting skills are really no surprises, and even Koji in the office... Daisuke Setsu's actor was mistaken for Masaya Nakayama, and he was still muttering about why "Like a Father Like a Father" The antagonisms and gaps in "The Son" are so bland and no tension here. What I am afraid of is not that a film is not made well, but that a certain trend will appear for no reason and cannot be stopped - it seems that Hirokazu Koeda has become more and more solidified in recent years, losing her fluid observation and expression . This conjecture left me at a loss. The linkage between works and thinking is more obvious in higher-level directors. If you allow cluttered and chaotic factors to intrude on your core competencies, the work will give immediate changes. Reversing this "law" made me worry: is Hirokazu-eda really ill?
Recently, I have been discussing an application concept [domain], which is also very inspiring when used in the evaluation of films, filmmakers and directors. For example, I found that Hou Hsiao-hsien played better when the time was slow. It can be said that his high-density domain is concentrated here; Ang Lee's tolerance was widened, and he did not see any out of control performance; Xu Anhua was strong in the details of life. , the scheduling of the big scene is less favorable; and Jia Zhangke... I don't think calling him "Second Dao Trader" is a kind of slander anymore.
It is Hirokazu Kore-eda's early films, which are better than the observation and capture of the details of life, as well as the secondary creation with his own thoughts. What he brings is the sense of beauty, the psychological enrichment of the many possibilities of life that the audience can get by watching his films. Although the flow behind the plot is still "young", and the style is dynamic and not heavy - refer to Ozu, but I like it.
Compared with many professionals and insiders, Kitano Takeshi, who became a monk halfway through his career, has no such troubles. His works (character design, plot) have always been in line with his life, so there is no pretentiousness or indecision. In front of him is indulgence, child-like purity, and natural non-artificial (factory) traces. This is not what technology can make up for. For those who really make movies, in the end of the competition, it must be the breadth, thickness and hardness of life. People who have been living in major research laboratories and podiums all year round cannot do this.
In "The Third Suspect", it was Hirokazu-eda who still tried to use the rhythm of daily life and the rhythm of life. However, the traces of technology were too heavy, especially in Masaharu Fukuyama-two rigid points one after the other, In front of the screen, a bunch of symbols were actually revealed, and I didn't realize it. It's not quiet, it's boring. It doesn't matter if technology invades a film, such as Cameron's "Avatar", such as Ang Lee's "Midfield War", behind the new technology is still the director's own outlook on life weaving the world. The scary thing is that technology, as a fig leaf for talented people, trying to achieve the amount of production or what purpose, the heart and thinking will become more and more dull. This process is almost irreversible.
ps. One hour discard
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