. The time and space logic in editing is not strict, and it should be said that the editing method of stream of consciousness is more important. Boss Lin's woman gave birth to a child. Wenqing was mentioned in the photo, and then he moved to Wenqing in the photo studio. From Wenqing, he brought out tolerance, generosity and beauty, and Kuanrong brought out a group of young people who were worried about the country and the people. Since then, it is basically a cross-narration of the story lines of the boss Lin and the second and the third, and the story lines of Wenqing and tolerance. Every time a thing or a character is mentioned, he will randomly cut into the relevant picture as an explanation, which speeds up the narrative rhythm to the greatest extent. The subtitles and the wide and beautiful diary can also be a good way to run through the clip fragments. Throughout the film, many of the composition through the camera are used repeatedly, such as the living room of the Lin family, the wide and beautiful hospital, etc., emphasizing a rhythm in the unhurried narrative. From this point of view, the director is really restrained and detailed. In terms of photography, long shots are really suitable for expressing emotions, but in terms of films like An Zhe's "Landscape in the Fog", Hou Hsiao-hsien's long shots do not deliberately challenge people's patience, time and amount of information. strikes a good balance. At the end of many scenes, there will be an empty shot, and the picture is always solemn, as if to give me a chance to sigh. Of course, more of this should be "blank", so that people can settle this sad emotion in their hearts for a while. The color seems to be uniformly decolorized.
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