1. Scenes, performances and lines.
The scene in the movie is not used as a base for the rationality of the story, but as one of the narrative elements that cannot be missing. This should be a legacy of classical movies (I guess?).
The grandma combed the grandson’s hair, and the actors walked awkwardly and squeezed around. The sorrow caused by these backgrounds did not happen when we saw it at the beginning, but as the plot progressed, when we gradually noticed the crowding, we didn’t even feel about ourselves just now. The numb shock quietly dissipated, the clearest time was the look of the heroine after all the family members had left. Only then did we think "Ah, how small this house is, this turned out to be true.", and in the drama Shocked aphasia repeatedly in the blurring boundaries with reality. (In the building next to the highway, will there really be a neighbor’s prostitute wearing leather clothes knocking on the door?) The
performance is no longer a simulated response to the possible drama in real life, but a realistic context for the drama conflict itself Active volatilization under the absence. In other words, the audience cannot confidently feel "I will do the same in real life" for any segment of any character that appears in this movie. The missing of this contextual link may be The reason for my constant discomfort during the viewing process is because I did not bring the context of the drama into it. Once a misunderstanding occurs, everything the movie does seems to be a crappy imitation of reality.
In the movie, the performance of a prostitute is the most typical. The gestures and smiles are not so much for the camera as it is for the audience that they have imagined. Perhaps the intentional loss of the realistic context is one of the performing arts. Be particular. (Then why is the heroine acting so much like a TV series? From this, I can’t help but think that the staff will continue to feel disillusioned when making this movie.) The
lines are also like this, with constant exclamations and inconsistent word order. Wording is a necessary condition to play the element that you want to play in this drama.
2. Extended meaning and sentiment
At first I felt like a crappy little sunshine girl, but after watching it, I felt that the black elements lingered for a long time. Do we really live in it? Why can we make people laugh or fluffy by extracting what we present in a different way?
The strong idea is that the relationship between the characters and the scene starts with the embarrassing sex and imitation of the Kendo Gym, and the final line is to kill the husband and confess the guilt for the neighbor, interspersed with single mothers of domestic violence, theft and money-worshipping couples, and kindness. The appearance of prostitutes, single-line policemen, lizards, etc., and so on. At the beginning, I only paid attention to what questions were raised in the screen, and what is the connection between this scene and the next scene, so I felt that the plot was difficult to promote understanding. Changing perspectives Judging from a stage play in which characters continue to come and go, the whole movie is clearly organized. It seems that different movies have different views.
The director of Ps. is also the director of the skin of my habitat, as expected. European cinema is fortunate to retain our enthusiasm for drama that is rooted in humanity.
I don't know what the super girl symbolizes. If the protagonist is her home after cleaning the room, I think it can be more fun.
The final incest meant that it was completely Europe.
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