Bresson's minimalism is hard and powerful, bright and kind. His film language can be compared with ancient Chinese classical Chinese. There is no stylized cutscenes and a powerful narrative every second. At this time, the audience is neither the passive role of the educated nor the critics watching indifferently. It is from the heart that we share the same fate with the protagonist. His wisdom and courage inspire us, and we are secretly cheering for him.
Although it is minimalist, in this movie, we can still see some design of the lens, but this kind of design is not traceable, and it blends seamlessly with the narrative. It now seems to be just a montage in a few shots (for example, after the protagonist moved upstairs, after the cellmate who lived on the opposite side tried to escape, he made eye contact with the protagonist in front of the door, and there was even no change in the virtual and real focus, but The audience will naturally shift their attention from the inmates to the protagonist), but it is this simple technique that makes people unable to fault it, which can neither be copied nor replaced.
The film just right embodies the aesthetic concept of relaxation and relaxation, and the real and the real, which coincides with the Chinese ink and wash technique. Bresson focused the audience's attention on every action and breath of the protagonist, as if through him, we had a complete experience of a profound escape from prison physically and mentally. Compared with the omniscience perspective, it is closer to the true perception of the individual. This is a caring perspective of the individual's heart, and it is closer to the appreciative state of the soul.
As an action film, I think this has reached its peak. As a psychological film, it is the same. Of course, it can be classified into several types of films, but only one thing is certain. Such films are not repeatable!
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