The tones of the film are uniformly processed into pink tones, and there is a sense of distance (not that "hazy", from the eye). Well, since most of the film is shooting ordinary life scenes, if there is too cruel humor, the sense of reality will be too strong, which will have an aesthetic conflict with some unrealistic scenes that appear next. , the pink blurred tone treatment bridges this conflict. (In Chinese movies, there are unrealistic scenes under the framework of realism. "The Good Man in Three Gorges" actually did a good job. Jia Zhangke did not use the method of changing the tone to reconcile the contradiction, but directly used the viewfinder to view the Three Gorges, which was undergoing great changes. The reservoir area was filmed because the scene was already a realist spectacle, and its spectacle made it organically integrated with the later non-realistic occasion.)
In addition, the director linked the tone to the minimalist set . The set in real life is not so simple at all. The director placed the small sadness and excitement in life in such a simple set that is rooted in reality and has a certain gap with reality, which not only makes these emotions detached. The realistic scenes that usually bind them jump out, and make them free between reality and non-reality, leading the audience to enter a kind of non-reality narrative that can experience real emotions. (The philosophical underpinnings of Nordic minimalist homes also appear to be existential.)
The plot is as loose as prose, and the branches are endless: an aunt is sad and she blames others for not understanding him; a girl falls in love with a rock singer and has a sweet dream; a loose ensemble; a teacher cries during class, Because her husband scolded her this morning; a torrential rain;. . . In short, they are all trivial things in life, but under the director's arrangement, they seem to have achieved a "beauty of discovery", which is something that can only be discovered after re-examining the details in life. A film that I thought was very good last time, "The Buried Woods" by Oguri Kangping seems to express this kind of return to life itself by different paths. Is this a direction for future films? The life ethic seems to be an important rediscovery after the ebb of Western postmodernism.
In addition, for the depiction of non-realistic scenes, my favorite part is the marriage part, and the last plane seems to be incomprehensible.
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