I think Gomorrah can be considered a summary of a new system of film aesthetics. Hand-held photography + segmented script + retelling of reality, young directors can learn a little bit, of course, the level of practice of each person is too much.
ps: From a certain perspective, a profound understanding of space is a kind of "social" and "political" understanding. As you can imagine, when Matteo Garrone stood between the buildings in that large slum in Naples, his mind was racing, every door, every window, every crooked brow he saw. Passers-by can give him inspiration and give him a path to the script: human, political, historical, racial and so on. The space he was all too familiar with. Therefore, one of the reasons for the shallowness and hypocrisy of Chinese films at this stage stems from the unfamiliarity of directors to their own space, or the unfamiliarity of pretending. The space built by Jia Zhangke on the platform in the 1970s is still very touching, but why is the space in the later world and the Three Gorges Good People so suspicious of its existence? However, having said that, after all, there are too many restrictions that prevent us from approaching or dare not approach that real (historical) space; or, at this stage, we really do not have the ability to truly understand space, because after the re-understanding of space It must be a great revolution. For example, when Hou Hsiao-hsien picked up the camera and shaped the space in his eyes, the whole of Taiwan was turned upside down.
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