Le Havre, a famous writer who left everything glamorous and ran to a small port town to work as a shoe shiner, came across the story of a smuggled boy.
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Aki Kaurismaki, known as the Finnish Jia Zhangke (joking)
Archie was never a perfect director in the orthodox sense. He willfully uses push mirrors and cuts his favorite bgm. The storyline doesn't have much ups and downs.
But in Helsinki in the early hours of the morning, the drunkards talk about Tolstoy, Pushkin and Gogol in the empty, foggy streets when they talk; reading to terminally ill patients who have passed out in hospital beds are Kafka; a garbage man brings a bouquet of flowers every time he sees a woman he loves. Oh my God.
Even more paradoxically, Aki's fans all seem to fit seamlessly into the director's musical aesthetic.
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Aki's retrospective at the Art Association in November sparked a small-scale fan frenzy. It is not surprising that the idealists in the world have been suffering in the real world for a long time. The director uses light and shadow to create a dream, and the fans plunge into this ideal parallel time and space to see how people honestly talk to each other and rely on each other.
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Every minute in the world of Aki Light and Shadow makes me feel that the world is good. The door is opened to the innocent, and the world is supposed to be what you wake up to.
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