A very stagnant movie. Close to the documentary.
So I intend to collect fragmented ideas as evaluations.
The director uses a very traceable shooting method to create reality. The telescopic and back-and-forth movement of the lens is so obvious that it takes a long time, as if some sections were taken from life and thrown on the screen, with sloppy burrs. Unconsciously, you will doubt yourself, as if you are not watching a movie, just peeping at other people's lives through the glass.
The actor played himself without a trace, more with no expression. At a certain moment, Jin Minxi stopped to sing in the wind, and the slender cigarette fell gently from his fingertips. She raised her head, and there were tears in the corners of her long eyes, which could not fall without closing her eyes. The tone floats smoothly and slowly. She had no intention of eliciting sympathy, nor did she bother to pity herself, but hummed her grief as a distraction.
The lines flow.
Waiting with a friend who didn't eat, she repeated dreamily, "I must be very hungry." "I must be very hungry." There was no emotion in the tone, and it was difficult to even form a dialogue. She didn't need to respond, and she didn't look at each other.
Drinking with friends, she proclaimed steamily, "Wither beautifully!" The smile was not complete, the whole person seemed to have withered, obviously not dead yet. And soft and vulnerable, holding someone else's kindness and taking every inch, "Can I kiss you? I really want to kiss you." As if he could die.
The reality of the actress and the director is like a discretionary bonus to the film, approaching possibility with gusto and pomp, hiding infatuation in the most candid way possible. Not infatuation with someone, but infatuation with a sense of destiny that moths to flames. They don't necessarily love each other, but they love themselves deeply and hopelessly.
"How can there be success, just talk about it."
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