I really like the paragraphs before Binoche put on lipstick, especially the few transitions, you can see the director's skill. For example, when the writer stepped onto the podium that was originally used as the opening curtain, this is the transition of the movie from "static" to "moving", with a natural and smooth connection. Then the camera turns to Binoche, the audience, and she leaves with her son. We move from the writer's outing giving a speech into the daily life of a mother and son who are not in harmony. This is actually a transition from the writer's world to another world. When Mom was out with the writer, we, like these two, looked at the first two worlds from the side. The interjection of the old woman in the coffee shop is an important opportunity for the development of the plot, and it is also an example of the small life of an outsider as the background (married life) of the film. In this way, the film is multi-angle and all-round, and there are vivid characters and stories in every corner, which has done a good job of laying the groundwork.
When "Copy" officially opened, the director's handling was somewhat mediocre, and the performance of the characters was only superficial, and it was difficult to penetrate into it. The actor's performance pales in comparison to Binoche. The dialogue in the first half is not the core content, but it is more unpredictable and tit-for-tat, while the quarrel in the second half is like a "mechanical copy" of daily life, without strength. The overall feeling is that in the second half, the tension in the front is not exerted, as if other directors can "copy" at will.
If I knew Abbas, I would recommend him to watch Wang Zengqi's [Da Nao Chronicle]. In my opinion, these are all the same. From the large-scale projection to the focus of several characters, Wang Zengqi is more skilled than him.
I'll take a look at the [features] that everyone recommends, because Abbas makes me feel funny, kind of childishly mischievous, and very composed.
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