The 6th screening day of the main competition unit of the 17th Faroe Island Film Festival brings you "Texas Paris". Below, please see the comments of the solo guests who have gone a long way on the front line!
Huang Shengyun Lolita:
The least favorite of all Wim Wenders works.
all:
Love and alienation, fleeing from searching. Living on the edge is living in the center.
Catcatcatyang:
I feel that I can't reach the end for a long time, nor can I reach the heart of the hero, but it is simple and moving.
fire_storm:
The beauty of Texas under Wenders's lens is breathtaking. It is still the same theme of the road film, but the touch of Kinsky makes this journey particularly eye-catching.
Wang Zi puppy:
The beautiful things are indeed beautiful. It's like the golden-haired heroine in a peach sweater, like Vaders' timbre, and his private rhythm at the helm of his movie.
We Min Hee:
European-style soundtrack and photography bring a totally different audiovisual experience from that of American movies of the same period. But the core of this American story inside doesn't really hit me.
Spring and summer:
The loneliness, loneliness, and beautiful elements are accompanied by the soundtrack, composition, and photographic lens that continuously extend the emotions. Find a reason for existence all the way, until you reconcile with yourself.
Spy Liu:
Natasha Kinsky is so beautiful, and she plays very well. The first half of the story and the second half of the story are too fragmented, although this is a consistent feature of the director's work; in addition, this kind of "loneliness" theme of a shit and deformed love story forgive me for empathy.
Matsuno empty pine:
Texas and Paris itself are an irrelevant place, destined to be separate, but there is a certain connection. The child is naturally the meeting point of Texas and Paris, so the last affectionate confession is very necessary. But the fatal point is that the first half of the movie is quite beautiful, which makes the confession destroy this unknowability and mystery. The moment Jenny recognizes Trevors, everything is discouraged.
Pincent:
The script is too wonderful. It has masterfully and restrained the story of love and loneliness, innocent sadness, the past like smoke, the corners of the world, and the tears of the face. The photography and soundtrack are excellent, and the Texas and California temperament is very good. The inherent insecurity of human emotions, the eternity of loneliness, will surely seek restoration after being lost. In my opinion, Travis is the kind of old-school reality that modern people have lost. If you can't run farther, you still have to face the mutilated past sincerely.
Cangshan ancient well air to the moon:
The viewing state of the previous hour was a bit dissociated. On the one hand, the restored version of the picture is beautiful, on the other hand, I feel that the literary and fresh style of the storyline is not my dish. It was not until the appearance of Natasha Kinsky that it began to attract my attention. force. From meeting with his wife through the phone, to the end of the mother and son meeting and ending with Trevors leaving alone, the next hour made me realize that time passed so quickly, while the front only made me feel how time passed. So slow, give Natasha four stars.
Psychedelic Muffins:
Every minute of the film is so beautiful for one hour and forty minutes. When they met through the glass for the second time, when the images were intertwined, I cried directly. The work of the heroine playing pornographic edgeballs and the priest have self-evident similarities. The whole movie uses a large amount of space to describe the relationship between the male lead, his brother's family and his son, but the latter part is completely abandoned, which is really stiff and confusing. (The heroine is so beautiful, I also want to go to the confession cubicle and talk to her)
Donnie:
I watched it on the big screen of the Shanghai Film Festival a few years ago. I remember that it was a very enjoyable journey. I was immersed in music and pictures several times.
Polanski used the time of a movie to tell the complex changes of love, and Wenders finished it with a monologue. He spent two hours on the journey of salvation. The entangled love leads to a deep wound, and the flame of failure makes him lose his memory. After soaking in the heaven and the earth for many years, he finally achieves that historical monologue, so that he can calmly tell her his past feelings. I can even imagine how tough he was before, a face-saving person who was not good at expressing emotions.
No one at midnight:
A stray horse that runs off the rein, a kind of dysphoria. What's wonderful is that the first half of the male protagonist left the desert passively, just drove the car across the road and through the ordinary moments of night. There was a dreamlike texture, and when he really returned to the embrace of a civilized city and family order, everything fell silent. In the journey of life, only the passages with no purpose and unknown whereabouts are the most beautiful. Whether it is later that he has to face his children again, or take the children to reunite with his once-lost wife, that is no longer Moreover, what he longed for, self-exile is heaven.
O. Yin:
Wenders’s fully perceptual works are originally simple stories and universal emotions, but they are elaborately portrayed from multiple levels by the director using precise audio-visual language. Movie viewers exile, seek, and wander along with Trevors, and finally On the opposite side of the one-way mirror, I recalled the past with the heroine, leaving the audience with Jinsky's stunning look back and groundbreaking human faces, but leaving the characters with deep pain but still restrained emotions. If it is normal to say that the lower edge of the Berlin sky is obscure and lethargic, then a road movie like Paris, Texas is still so slow and slightly dull. I can't help but suspect that this kind of slowness and boredom is one of Wenders' pursuits. Kind of style.
Full of Zhao+:
What happened in the past, the suspense and sadness have been paved, and I have always thought it was a terrible event that was earth-shattering. After Travis said it was so plain but felt even more sad. The story told is too cruel. The love that used to be true is still true, the tears are true, and the memories of change and pain are also true. If you can’t escape, you can’t let yourself go. Happy time is not worthy of having. The only thing that can be accepted is the lonely homecoming. Forget that Paris is in Texas, and also forget that it is to prove that we love each other to have those temptations, quarrels and changes. The soundtrack similar to a western movie makes me feel that Travis, who drove away at the end, is like an old western cowboy who will never dismount. Only the desert is the way home.
DAY6's main competition magazine will be released later, please wait and see.
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