When watching the second part, I will be delighted to see the similarities and differences with the first part, and sigh the changes brought by 9 years. This change is more of a positive energy in the second installment, where we see Schilling and Jesse who are successful in their careers, and see the less perceptible wrinkles and wiser minds that the years have left them. Even the bad news is slowly peeled off layer by layer, such as Jesse getting married (not good for the heroine). The advantage of 30 is that it is calm and composed without losing the vigor and splendor of 20s.
The style of the third film suddenly changed. We saw Jesse, who was debuting for the first time, with gray hair, and the presence of the belly was deliberately emphasized in the clothes. A middle-aged man who has been "tortured" by life (neutral word, bad family life is sometimes fun, many people are happy even if they grow old and disabled, but it is an indisputable fact that the destruction is always a fact). At this point, the audience will think that maybe Jesse's old-fashioned and shabby feeling comes from his slovenly personality, but when the long shot follows the car, we find that Schilling's pear-shaped figure can only barely be regarded as hold, go. The shape has not gone too far, she is a middle-aged woman who still has such a little milf charm. Afterwards, I took pictures with my mobile phone in the car, and I was full of aunts. Fortunately, when people are middle-aged, they still have a heart for literature and art, so the fun changes from "finding differences" to: in a completely different style of painting, feeling happy for the bits and pieces that have not been washed away by the years.
The great thing about the third part is that it makes good use of the actors' figures and faces to describe the changes of Western middle-class intellectuals from youth to middle age. In order to maintain the texture of cast bronze sculptures, wax is often used to make them "perpetually youthful". However, some artists often expose the sculptures to the air, and the surface of the sculptures will become mottled due to factors such as air and rain. No yo Yang's change, this also has a style. "Before Midnight" shares this approach. A film in 9 years is not only a gimmick, but also a necessary condition for time to wash away. In the past 9 years, the director, hero and heroine are not the same in terms of mentality and appearance. There are many movies showing middle-aged life, and there are often actors who can use makeup to play movies with a large time span. But time is the best makeup artist. Delpy's fat thighs are made of muscle and fat accumulated over the years. Such vivid thighs are difficult for makeup artists to achieve (refer to Anthony Hitchcock in "Hitchcock"). Hopkins' hard belly).
The director's new work "Boyhood" spent 12 years waiting for children to grow into young people. The point is the effect of time on the youth inadvertently. Seeing his growth is like seeing the process from flower bones to full bloom, the audience will be very incomparable surprise. In "Love Before Midnight", the role of time more cruelly points to the social mainstay of the 30-40-year-old who are initially entering middle age, but this time the process is no longer important, and the direct presentation of the results points to the cruelty of reality And the helplessness of people facing reality is shocking enough.
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