I don't know if it's the difference between color and black and white, but the second part has a less formal sense. Also, did the director really like Laota's films when he was studying? He always felt that the video had a Soviet flavor. The character scheduling in the movie will also be the kind of long-shot style ~ the character looks into the distance, and the camera pans to the distance along the line of sight. Another person is walking in the distance, and the person you just watched enters the painting from the other side and moves to the distance. ...
In terms of plot, this one basically continues the mood of the town, this time the protagonist is Ceylon's father. However, this social topic goes a little further than the previous one. His friends in town wanted to go to Istanbul wholeheartedly. The dialogue between the protagonist and the youth was like a rehearsal from afar.
The experience of the details of life allows the director to present the details. And those details are always fascinating.
The director seems to prefer images from a subjective point of view, and there are often some strange shots~ First, this one gave the camera a second or two at the beginning. If you put it here, it will probably be called implantation, right? Also, when the protagonist and his friends went to his uncle's room, they saw a baby~~ and then gave a baby's subjective...weird idea. Not sure if such a shot would be appropriate... The director's job is sometimes delicate, both indulging in it and alienating it at all times...
This movie feels like a transitional model in general!
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