The 14th #法罗岛电影节# will bring you "Spider's Nest City" on the 4th screening day of the main competition unit. Here is the evaluation of the front-line "loyal" subordinates who have killed the king and become king!
zzy granite:
Desire is the murderer of death.
Fruit trees:
The Japaneseization of "Macbeth" is really appropriate. After weakening the protagonist's madness in the second half, the highlights of the whole film can be gathered in two appearances of gods and demons.
O. Yin:
Fog, woods, nest city, arrows; confusion, desire, heart, collapse. The song of the demon spirit is unpredictable in the hearts of the people; the gods blame their prophecies to bring out the reincarnation of fate. The atmosphere is bare and slightly haggard.
Her Majesty:
It is also a stage play movie, and all the key plots basically rely on the mouth. Before Hong Kong action films were invented, all the actions and expressions of costume films were accomplished by superb scene scheduling and outstanding performances by actors.
coco:
Just like the Oedipus tragedy and "Macbeth", the West is more inclined to struggle with fate. In this film, Kurosawa integrates it into the oriental cultural background, combining the history of the Warring States Period in Japan and the creation of Shakespeare. In the maze forest, ghosts and demons are rampant, the horror and hideous dreams are not in the witch, but hidden in the heart.
Poem to Adelin:
The dramatic irony originating from Shakespeare is very strong, and it should start from subjective awareness of objective reality, that is, when the heart demon finally predicts it, but the reluctance is too tightly matched, and the context is biased, and the character and the owner are also hard to see. However, it is easy to see from the heart, and the metaphors with strong externalized meaning at the linguistic level also complement the unbalanced expression. It can not be said that it is not strong, but it is inevitable to lose the charm.
No one at midnight:
People walk in the fog, lost and overwhelmed by desire. "There is no soldier, I don’t want to be the lord of the city." If you don’t kill, people will kill you; even if no one wakes up, you will eventually hear the voice of the demon; There was a second time, because doubt was unceasing and inexhaustible. The transplantation of the background of "Macbeth" is very beautiful. Western fatalism has broken into the atmosphere of Japanese evil killing, and there is no tension. The ambiguous texture of the image and the dark scene of the sound effect work together. The characterization is refined, so this "re-enactment" itself is the pursuit of conciseness and thick lines, and it is still very staged.
Pincent:
It can be described as "Game of Thrones: A Feast of Crows". The carrier of power and desire at the end is filled with bows and arrows like an iron throne. Generally speaking, the character adaptation is relatively simplified. The three witches are transformed into three forms of monsters. The crows rush out to imply the "movement" of the woods, thunder and lightning, heavy rain, fog... Carried out effective use. Seeing the ghost, the blood of the former traitor cannot be wiped off. It is close to the oriental mysticism and has no sense of conflict with Japanese culture. With the help of Noh drama elements, Macbeth’s face is as exaggerated as Peking opera’s facial makeup, and his heart is filled with anger. Ambition and desire are undoubtedly revealed, and the white-faced woman who repeatedly washes hands by Mrs. Macbeth resembles a Japanese-style horror movie. The scene of the main character acting drunk and seeing the illusion is like a stage play in a play. The design of the whole play seems to have been directly borrowed from Ninagawa's version of "Macbeth".
#FIFF14#DAY4’s main competition score will be released for everyone later, please wait and see.
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