1. The addition and withdrawal of the magic flower element does not affect the character's thick line behavior. This design is clever, placing the whole work in a real suspicion tone, which distinguishes it from the common heterogeneous intrusive themes.
2. The "missing information" mentioned in a short comment is also handled in the same way. Just like the Ant House raised by the little boy in the film, the human life shown by the director’s interception and observation can be equivalent to the cross-section of the Ant House observed by the little boy. They are all postures under contemplation, smooth, flat, superficial, small, and inorganic. Most film works are about dismantling, dissolving, and analyzing characters and plots, and increase the audience's empathy and self-reflection by increasing the amount of information and emotional concentration. In a sense, it is an "excessive" interpretation of reality. Otherwise, the director is quite organic to get rid of the information, the individual sticks to his own thoughts, presents the most simplified behavior in the interaction with the outside world, and there is no real emotional communication with others.
3. Artificial sense and artificial sense. In Hausner's two previous works, whether it is "Lourdes" or "Crazy Love", the subject matter is not artificial, and this is the biggest difference between them and "Little Joe". In other respects, these three films are all artificial and non-sensing lens-moving styles that remove emotions from the images (except for this film, which is more sporty). The author's attitude is an alienated perspective, and the theme is "people". The weakness, coldness and absurdity of the soft emotion of a soft subject. The first two films are supplemented with highly artificial scenes and film rhythms on humanistic themes, which can be transformed into a kind of indifferent but above-average aura. The core of "Little Joe" can still be described as a humanistic theme, but in form it is a combination of laboratories and magic flowers with strong artificial sense. In this film, it is a superposition of artificial sense (subject) and artificial sense (film production style). , And the dual artificial feeling is completely different for different audiences.
4. It is a procedural and spatial work rather than a one-way linear motion work. Device. The shots, pictures and peculiar soundtrack form a complete space together. The director also emphasized the existence of space by advancing the lens to the third point of the void in a group of character dialogues. Movies with endings, but not entirely one-way linear motion works. They try to shape space in a medium with a progress bar and pull the timeline arbitrarily. The space is a complete and independent space of doubt and fear. It is an installation video work.
3.5.
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