story structure is still the mainstream structure of Hollywood, a person is in the original world. Uncomfortable to live, he received a call from a different world, so he left the original world and started a new journey. Mark lives in the shadow of his brother, and DuPont lives in the shadow of his mother. The characters are set as mirror images of each other, and the story moves from events to individuals, or spiritual concepts. This is the way of thinking of Westerners. Well done, I like it. These two mirror images of each other fight each other. One hurt the other, but in the end, neither got rid of their respective shadows. It was even because of the encounter and entanglement of these two people that the gloomy ending happened. Can it be avoided?) Well done, the nomination of the script means that it has to be here, it is the level of the novel, but big brother, what about the drama? Did the director tear up all the plays written by the screenwriter in order to maintain his own style? ? ?
There is no arrest in a single scene, and even if there is a conflict, it will stop abruptly. The explanation of more information is a character discovery and an existential explanation. Is this still Shakespeare's disciple? No wonder Cannes likes it. The way the story is told and its spiritual core are all realistic. Even if it wears a cassock of romanticism, it is the same as Oscar, who regards Mélière and Shakespeare as their grandfathers - no, curse, recite
BTW, a In mainstream commercial films, the protagonist does not have the initiative or the initiative is not obvious. It is the director's rhythm to pit investors. Why do you think Mark's play is stronger by DuPont? It's because DuPont's initiative is stronger than him
btw, DuPont took his mother's rhythm The horse decoration was thrown, and the scene with Mark's medal was good
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