Synonyms, an emotionally perverted, alienating film, undermines the conventional viewing experience with its unbalanced narrative pacing and absurd dialogue, making it somewhat experimental in a way that is not acceptable to everyone. Director Nadav Lapid explained his understanding of immigration issues through language in the film. The film’s dialogue bears the legacy of absurdist drama—distancing interactions, deadpan narration, and meaningless stacking of words, all of which reduce the coherence and balance of the narrative. Tom Mercier, who plays the male lead, has now learned not fluent French and English for the film. Although his performance is almost paralyzed, this unnaturalness and his perfect body fit the appeal and style of "Synonyms". The film uses some unconventional techniques to portray immigration issues, which makes the film particularly unique. But the Jewish, French, and other characters are too explicit in their correspondence to their own symbols of value. The intentions of the film are blatant and, to say the least, slightly crude. Compared with the difference in audio-visual language, this is a bit weak.
"Synonyms" is obviously Nadav Lapid's self-confidence, he has incorporated a lot of experience and experience in the film in France. The whole film has a heavy atmosphere of dark humor and explores the issue of immigrants and immigrants' identification with their own identity. It should be said that "Synonyms" sells well and is very pleasing to the audience. But the quality of the film is still average. Much like a film made for a film festival. Compared with the Cannes award-winning "Plaza", "Synonyms" is still a little thin. Of course, Nadav Lapid's artistic personality and strong independence in the film are also admirable. That kind of sloppy self-expression has disappeared for a long time in today's politically correct society.
"Synonyms" presents Parisian life from a maverick perspective, and is a film that needs to be held back and watched, especially in the lack of obvious tension in the second half
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