2 Some montage techniques look comfortable.
For example, when the most violent (throwing plates, roaring, gang fights...) slow down editing + BGM (like In the Mood for Love), so that the film will not be noisy, and it also increases the artistry. There are also places to speed up editing (childhood memories, while roaring) with an artistic effect. But at the highest point of emotion, this method is used as an outlet, there is something missing, no result is explained, no turning point and progression (Wang Sunglasses uses this method mainly to render the atmosphere and emotions, but the plot has a result or Will honestly explain, such as the progressive transition of the character relationship, but Dolan does not)
For example, multiple close-up shots (like a juggling montage) (such as the mother's eating at the beginning of several shots) Received close-ups of Dolan's eyes, such as the close-up shots of several poster characters in Dolan's room receiving Dolan's writing in his diary, as well as buying fruit...) The rhythm is lively and the intention is clear. This should be a common method, and it is also in line with This film
for example, insert a subjective lens (imagine the scene of my mother sunbathing, the scene where I was told to send a boarding house with a broken piece of glass in my heart), it works very well, it feels very flexible, and it escapes. Light and light, it seems to break the rigidity of the confrontation and the atmosphere.
For example, recording a DV, (it seems to be talking to himself, so it is not breaking the fourth wall?) It is also black and white, but I think the form is good, but there is no Very good effect. It is neither a dialogue with the audience nor a deeper monologue. It is still about the content of the quarrel, and it does not promote the plot. In the end, it doesn't have any obvious effect when he sees it, because the words said are not the same. Did he usually tell his mother (when it comes to similar techniques, the effect of detachment is the best)
3 In terms of the content of the story, it actually reminds me of Four Hundred Blows, the same boy who was separated from his parents and sent to a boarding school. The same has no turning point and progress, and only talks about a certain state. But Dolan's film is a lot more life-like, and the quarrels are so immersive, the mother's position and the child's position are too clearly seen, just because of too much life, I have more demands to come to a result, And the appeal of sublimating the concept, (after all, you want the concept of the movie to be above your own to look good), but he only gave me one state. It's neither a compliment nor a derogation, I simply feel that there is a lack of results.
Discussion with zheyiyang:
1. There is no dark text and the aftertaste is insufficient (the dark text refers to Budapest, blue, white and red. Another: the true meaning of the dark text is the text that is not spoken but understandable)
2. Basically, the way of speaking is not enough for movies (journey End point)
3. Artistic is not enough (Dolan vs. Wes Anderson)
4. Pulling away from the story depends on whether it is needed or not (dv narration storytelling breaks the fourth wall) (ps. Has the narration's perspective changed)
5. Is it a display state or reincarnation (like 400 strikes or like a drunken folk ballad?) (no hierarchy)
6. Different expectations of size and structure, similar comparison (pianist vs fur)
7. Material library and life experience (Dolan vs. Polanski ) )
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