At the 2017 Cannes Film Festival, a film about European refugees who gained superpowers and escaped from the sky caused a huge controversy. Many film critics thought it was a gimmick to exploit refugees, but unexpectedly criticized the black movie star Will · Smith's favor, he is full of praise for the cool long shots in the film. Although the film ended up being nothing, the Hungarian director of the film, Kenel Mudluzzo, caught the attention of Hollywood and was eventually promoted to Hollywood to make his first multinational production, Fragments of a Woman, in which the heroine Vanessa Kirby won the Best Actress award at the Venice Film Festival last year and has a chance to win the Oscar for Best Actress in the new year.
The screenplay was written by the director's wife, Kata Weber, who is said to have experienced it herself, and was done with the director's personal encouragement. Although the director and screenwriter are representatives of European authors, this new work is obviously different from their previous fantasy works ("Joan of Arc", "White God", "Guardian of Jupiter"), and is closer to Hollywood in terms of plot. s work. Regardless of whether it is restricted by transnational co-productions, director Mudluzzo has not given up his iconic dazzling long shots and symbolic metaphors (apples and bridges). In a set of long shots for nearly half an hour at the beginning, slowly showing the accident that a couple encountered during childbirth at home, the heroine Kirby's heart-wrenching performance (embarrassing movements, painful expressions and miserable screams) gives people With an immersive look and feel, you can realistically experience the pain limit of pregnant women and children.
This half-hour paragraph alone, the heroine Kirby is enough to be called the honor of the actress. However, this sense of immersion created by super long shots gradually cracked after the baby died. Whether the accidental loss of the child caused a rift in the couple's relationship, or the difference between the heroine and the mother's accusation of the midwife, it all seemed so familiar. These highly pre-set plot arrangements are completely caught in the old Hollywood routines, and it is difficult for people to see new ideas. If hero Shia LaBeouf has been pushed to the cusp of recent sexual abuse scandals, viewers may find that some of his actions in the film bear a striking resemblance to the allegations in reality.
This lineup of stars holding the moon (with Vanessa Kirby as the center) is simply a standard Olympic theme, and the sharp topics are presented in the paragraphs that advance in time (the prominent class difference between the male and female protagonists) , the legal issues involved with the birthing midwife). The lines of husband and wife and mother-daughter are written in the same way as conventional Hollywood scripts, except that the independent female image is not prominent enough, and is often submerged in these emotional and expressive narrative fragments, except for the last statement in court. Rather than saying that these "fragments" are for the audience to piece together step by step how the woman reconciled with reality after losing her child, it is better to say that the director and screenwriter have given up the fantasy style they had worked so hard to develop and had to devote themselves to this mediocre and unremarkable style. A script full of calculations.
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