originated from a short-lived documentary, and from the commemoration of Fei Wen crying when he held the little golden man in his hand.
In 2008, too many left.
Minghella's farewell was hurried and brief.
After deconstruction, it is not broken,
it is a text from the late winter of 2008, and now it is almost the early winter of 10 years. Such a film can actually split the time so scattered and long. After shielding the noise of the Internet, I can really wander in this warm and cold shot.
Two seemingly broken or really broken families, under Mingla's piecing, are so closely intertwined.
WILL and LIFF measure the distance between the minds at both ends of the mirror, and the shot is beautiful; the British man and the French woman sighing at each other in a crowded room against a model of a keyboard without undulations, it is a beautiful shot. Behind the camera, the fluent piano sound shuttles from far to near.
If you want to pour your heart out to another person in the mirror, then the distance between us is nothing but reality.
Mr. England, this face always reminds me of this term involuntarily.
The shape of your lips, I can draw with my heart. —I believe this is the most straightforward expression of British implicitness.
French lady, your brown hair and eyeballs, even if you don't make a sound, will always be filled with the ambiguous fragrance of red wine in that romantic country.
This is a simple story about a mother's love, and I believe Mingra can give such a complex but not messy expression.
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