The road roller and the violin, art and bread, the difference between social classes.
For me it is more focused on the short film of the situational experiment of the audiovisual language technique. The lens moves flexibly, has a strong sense of form, the kaleidoscope-like mirror reflects, and controls the inside and outside of the focal length in the depth of field, the water swaying in the cup, and the dripping water in the beach instead of the screaming woman. When the card agreed to shake hands, the reflection of the water on the ground was a drop of water droplets on the two people's handshake.
> The most interesting thing is that after the two agreed to watch a movie, the montage has a distinct meaning. The boy and the mother in the mirror share a picture, which is the estrangement and incompatibility between the two. The boy is guilty and anxious at home and cross-edits with Serika. The picture of the boy turning back is followed by the picture of the woman walking. The two communicate in different spaces through a montage. In the previous shot, Serika and the woman who loves him are performing a romantic drama next to the cinema. In the next shot, the boy slams the door of the house irritably. With the sound of the door closing, the romantic music stops abruptly - the boy is like them The viewer of the romantic drama - that's the beauty of montage.
Finally, by pushing the face of the boy in the close-up lens, the picture moves towards the boy's imagination.
View more about The Steamroller and the Violin reviews
