It's more like the French version of /Friends with Money/, or the real-life version of /Friends/, from the long shot that ends in a terrifying horror, to the dense and rhythmic character interaction in the middle, to the freezing moment when everyone embraces affectionately at the end. Mirror, I believe that most viewers will sigh "we have..." rather than "they are so miserable...".
This is our circle. Just a few of us. Everyone is a VIP, there is no cheer leader or drama queen you need to hold in high school.
We mocked in public, we whispered behind our backs, we were ambiguous, we had grudges against each other.
More often, we accompany, and the passage of time accumulates our pride, we celebrate, and are glad that we are not alone because of our company.
But do you always have that time, just too lazy to care. I
'd rather collapse into hysteria when bad news comes, than shudder at the hospital bed.
There is always a fluke in my heart, "he/she will be fine in two weeks", or an excuse like Max, it is useless to accompany him anyway.
However, it is symbolic companionship that builds substantial friendships.
Where were you when I needed you?
Wish you were there even when I didn't need it.
That's why a lot of people need to be greeted, even if it's just a short Comment ca va?
Like frequent cheek kisses, never feel troublesome.
You care about me, how can you prove that you care?
You pray, you cry, is the director's close-up for the audience,
I lay there quietly, listening to the drip, with nowhere to be grateful.
Maintaining stability and vitality in such a large circle of friends is more complicated than managing a multinational enterprise.
Everyone should be friendly and have positive interactions. The relationship between closeness and distance should not be too disparate, and their status should be relatively level. However, the emotions between each pair of friends cannot be the same. They must be intertwined with love and hate, mixed with jealousy, and constantly conflicted.
As a result, the director controls the proportion of middle-aged men's sex-orientation struggle to ensure that the drama will not focus on the most gimmicky plot;
Marion restrains sexual temptation, and the emotional habit without plot support is only used as a personality, to a certain extent avoid the unexpected sense of stand out in female roles;
the rest outpouring of emotion is the role of the surface under precise control in close-up, a strong appeal, but it does not take away too much attention;
European film villain usual random walk through the little things , instead of a Hollywood twist, diffused with the tension of a casual life...
It's the perfect vacation, an ideal ecosphere of friends.
If it hadn't been for Jean's heartfelt revelations and criticisms at the end of the film, and even the amorous act of sprinkling sand on the coffin, this might have been a perfect and ideal movie.
The ceremonial outline shows that the director is eager to finish (150 minutes, so he has to be anxious), and finally brings the absolute taboo of friendship films into the impression of "contrived", which makes everyone cry like a child rushing to hand in the paper at the end. The answer is tucked into the audience.
In fact, in harmless lies, we, like the characters in the film, don't need answers.
As long as you believe that this is what you said, you can rely on it without fear, even if you know it is a waste of your life.
As long as you believe that this is my story too, there is no need to read out the answer - it is in the frowns and smiles of the people who are with you.
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