* Deep Focus Monument List *
List of Films
Planning | Deep focus editorial department
This issue is coordinated | Young
This issue edits | White gull
Last weekend was the original time for the awards ceremony of the 73rd Cannes International Film Festival. If it weren't for the pandemic, we would be arguing fiercely right now about who Nannie Moretti, Paul Van Hoeven, leo Carax deserves the Palme d'Or the most. Now, all the thoughts about this year's Cannes are the "original exhibitor list" that Fumao will announce in a few weeks. Which films can be labeled as palm leaves is a matter of their fate in the fall and winter.
Due to the resource window of most films of 3-4 months, due to the impact of the global epidemic in February, the number of new films that have recently been sourced has dropped sharply. The Lev Landau series, which we have reported many times before, has become a lifesaver for fans, and the 5th and 7th "Brave Man", "Katya and Tania", and "New Human" have been launched one after another.
Stills from Lev Landau: Katya and Tanya
Over the past week, we have had a roundtable discussion with the deceased Japanese film magician Obayashi, introducing the 9.5-point German drama "Babylon Berlin", analyzing and criticizing Wang Quan'an's "Dinosaur Egg" that participated in Berlin last year, and inviting "Under the Sun" director Liang Ming to discuss Li Cangdong's novels, films and influences on "Under the Sun". In terms of information, many well-known directors have announced or begun preparations, such as the news that Tang Wei will star in Park Chan-wook's new film, Woody Allen's new film will be launched in Spain in September, the sequel to "Mad Max 4" has begun to prepare, in addition, Spike Lee's new film has released a trailer on Netflix, and the film industry has fully recovered, which seems to have become a matter of proximity.
This issue of the word-of-mouth list will launch two new films, the first is the French director Bruno Dumont, who will appear on the word-of-mouth list every year, shortlisted for the 2019 Cannes kind of attention unit of "Joan of Arc", the story content follows the plot line of the first half of the previous work "Joan of Arc", and the young Joan of Arc who grew up continued to lead the French people to fight bravely and was finally judged by the church. This film made Dumont a fourth consecutive year in the Film Handbook's Top Ten of the Year (2016 Marut, 2017 Virgin of The Virgin, 2018 Generosity and Inhumanity). Another film on the list is "Spring Tide", directed by Yang Lina, starring Hao Lei ("The Mystery of the Floating City", "Summer Palace"), Jin Yanling ("Yiyi", "One Thought", "Ignorance"), which was shortlisted for the 2019 Shanghai International Film Festival and won the Golden Jubilee Award for Best Cinematography, telling the story of the undercurrent between three generations of women under the same roof. This film has received the attention of the whole network since its launch on iQiyi on the 17th, and has also become the most worthy of discussion in recent times. Some reviews mention that "Spring Tide" has some similarities with Yang Dechang's "Yiyi" and films directed by Lou Ye, and the evaluation of this film in this word-of-mouth list is more divided, with a score as high as 90 to 40, you may wish to listen to it at the same time.
Stills from Spring Tide
In terms of word-of-mouth list, "Les Misérables" ranked first for five consecutive weeks, and "Wendy" in the fourth week of the list surpassed "Vitalina Varela" to the second place. The newly promoted "Invisible Woman" and "Dinosaur Egg" both ranked poorly, ranking only 15th and 18th respectively. The three films that have been on the list for more than ten weeks, "Daniel's Face", "Blackwater" and "Souvenirs" have come to the position of being on the verge of falling off the list, ranking the last three.
This week's word-of-mouth list is introduced here, and I hope that everyone will continue to support the word-of-mouth list and vote for their favorite films.
#本期新片
Spring Tide (2019)
Director: Yang Li Na
Screenwriter: Yang Li Na
Starring: Hao Lei / Jin Yanling / Qu Junxi / Li Wenbo / Huang Shanghe
Genre: Drama / Family
Country of Production: Chinese mainland
Language: Mandarin Chinese
Release Date: 2020-05-17 (Chinese mainland Network) / 2019-06-18 (Shanghai Film Festival)
Runtime: 124 minutes
Viewing status: iQIYI platform online watch
North American Media Metacritic: -/100
French media Allócine: -/5
IMDb: 6.8/10
Douban: 7.2/10
Song Ke, a film research monk, prefers "Southeast Asia", writes amateurishly, shoots films, and does film festivals. Romance in life, loneliness in movies
90/100
If there are many personal symbols and dreams in male films in the common sense, it is unconvincing, but in the common sense of women's films, those symbolic symbols, psychoanalytic scenes are not surprising, we can see that It is Yang Lina's hysterical continuation of "Spring Dream", the tide flows through the city, flows through three generations of women, and it is the spring dream that shines into reality. If you look at this "Spring Tide" from a creative point of view, it is very good and worth recommending. 15 years in the Taiwan Women's Film Festival to see "Spring Dream", Yang Li Na is not a prolific director, five years past to see her new observations and thinking has a consistent authorship, "Spring Dream" is Liao Sang's knife, "Spring Tide" also has a lot of Taiwanese filmmakers to join, Taiwan and Northeast China have a relationship like women's tenderness and the collision of the steel industry, very appropriate, the film's emotional tension, breathing sense is also very good. Performative in real space and hysterical in everyday life, the respite moments of editing rhythm leave poetry and tears. My daughter's inadvertent action of throwing milk at the dinner table saw me crying, like and pain points, and there were several places in the back, most of which were accurate. In the past two years, more and more images about Changchun have been seen. This is a kind of "new independent film" that I am not tired of seeing, which does not rely on more industrial resources and routines, and uses existing resources very well. A previous article by Sai Ren Teacher said that the film is the product of joint cooperation, and the more this is done, the more precious it is to recognize the individual, and "Spring Tide" does a good job.
Lu Xuan, M.A. in Comparative Arts from the University of Grenoble, is a photography fan who loves movies but never thought about making movies
80/100
"Spring Tide" is a work that relies heavily on the subjectivity of the viewer, because it has its own "thorn point", because it is about a state of emotional lack: small to the family, large to the inside of society. Regarding the latter, director Yang Li na magnified the most basic mechanism of political appeal - showing the individual emotions rather than ideas embedded in it, which is logically self-consistent and more cleverly avoids clichés. If the viewer agrees with this view, then all the more blunt settings in the film are no longer hard wounds, because they are all wrapped in this sensual force. About Hao Lei's stage drama monologue: The monologue is actually very much in line with people's stress responses to pain, but in the specific form of expression (whether it is lines or scene scheduling), we may be able to borrow the monologue of Jin Yanling in Yang Dechang's "Yiyi", which is more in line with reality and the style of the work itself.
Vincent Ninety-Six, a fan in the operating room, is studying for a master's degree in anesthesiology, and always considers abandoning medicine and taking pictures
75/100
The lines have not been able to land because of the literaryization of the images, but it is still necessary to clearly realize that under the appearance of the entanglement of the evil fate that has enveloped three generations, it is a deeper sandbox innuendo to this land, itself, the surroundings, the past, and the future. We desperately need works that calmly and autonomously record the breathing and heart rate of the times, and at this point, it may really be possible to overlap with Lou Ye's films through Hao Lei.
Song Remote, a master's degree student in film studies at Kyoto University, is a film lover
60/100
On the one hand, with the clue of "family", on the other hand, with the clue of "home country". The latter is a cryptic source of violence, yet it provides the mother of salvation for the former. Fragmented emotions overflowed, but they stopped there.
Xu Ruofeng, studying art history, is a fan of Hangzhou film
I can understand how rare this expression of "I and my motherland cannot be separated for a moment" in the domestic environment. But in order to roll out the history of national persecution under the family drama "Blood Guanyin in Northeast China", too many senseless finger-pointing scolding acacia is used, and the ending is even more "a large mirror image after removing the mother's oxygen mask to love and hate the obsessive speech", "from the handsome blind brother of Taiwan who has drifted thousands of miles to the northeast to find the shadow of the gentle scumbag father who was persecuted by the Red Guard mother who suffered from the after-effects of the Cultural Revolution", and so on. To some extent, it is still a problem of censorship, and domestic film creators want to express political reflection, but they have to embark on the route of suspended and hollow flower shelves, and the final effect is thousands of miles away from what they originally wanted to talk about.
Zhang Wu slow, once we start to study the image, we are already far away from it
57/100
It's highly complete, but it's a bit hollow (whether it's characters, stories, or some potential political representations).
Liu Erqian, a Hong Kong film researcher, Benjamin is the only main god
40/100
Mutual harm to social scars carved strange text. The fingering is too dense, the composition is sparse, the characters are reduced to the director's marionettes, acting in full accordance with the established linear psychological logic, and even Hao Lei's indifference and the rescue suggested by the last sexual fluid/water/nature are also an expected feedback. The characters and plot design should "borrow" a lot from "One One", but the lights beating in Min Min's heart are the magnificence and alienation of Taipei's urban life, what is dancing here?
Joan of Arc
Jeanne (2019)
Director: Bruno Dumont
Writers: Bruno Dumont / Charles Beji
Starring: Lisa Lepra Prudom / Annick Lavieville / Justine Herbez / Benoît Robail / Alain Desjacques
Genre: Drama / History / War
Country/Region of Production: France
Language: French
Release Date: 2019-05-18 (Festival de Cannes)
Runtime: 137 minutes
Viewing status: HD Chinese character resources have been out
North American Media Metacritics: 49/100
French media Allócine: 3.9/5
IMDb: 5.8 /10
Douban: 6.8/10
Lu Xuan, M.A. in Comparative Arts from the University of Grenoble, is a photography fan who loves movies but never thought about making movies.
95/100
Dumont's presence made me more certain that a good artist should have a restrained rationality and compassion, both of which are indispensable. The sense of transcendence in Joan of Arc reminds me of another of Dumont's masterpiece, Son of Man, in which the sky and birds draw on the mental confusion and pain of being human. Of course, this work, based on Joan of Arc, no longer has the large number of presentations about the flesh itself that Dumont has trademarked, but instead sets up a large number of dramatic lines. The unexpected highlights of the work are: 1. The scene of the trial is not so much a trial as a speculative and dialogue 2. A mixture of avant-garde audiovisuals in the classical style.
Ada's Plan B, a fan who resolutely responds to the "new movie" and opposes the "old movie"
92/100
Although nominally a sequel to Joan of Arc, there is no connection between the content or style, and the overall positioning lies between the comedy Dumont and the main drama Dumont. From the visual style to the plot promotion of the film, it is dominated by an abstract sense of childlike drama, but the family-style narrative is matched with the family-style characters, and the form is extremely strong, even if it is no matter how child-played, it can also condense the transcendental power.
The secretary of the round head, the current editor-in-chief of Deep Focus Fox, and the winner of the first Deep Focus Chinese Film Critics Competition
An advanced version of Virgin Joan of Arc, the song becomes an inner monologue. The look and feel of the whole film is extremely contradictory, both funny and solemn, the trial section is simply solemn to cry, the priest sings and laughs badly, the song makes people move, and the people next to them make it difficult not to laugh. Dumont often puts the audience in an awkward position of crying and laughing, approaching the "real" in a way that has never been seen before. This is not the best Joan of Arc in the history of cinema, but it is the most solid and moving Joan of Arc.
Zhang Wu slow, once we start to study the image, we are already far away from it.
Dumont seems to be trying something new with each film. The viewing experience of this film is wonderful, and the strange things, things that are pulled away from Joan of Arc and her historical imagination, all form a mysterious, irrational vortex of attraction. In addition, the perception is unexpectedly very similar to the girl revolution, and some completely frustrated, game-like representations have escaped into the "contract", which is heart-wrenching.
In retrospect, although it is a "sequel", this time Dumont's image form and scheduling physiology are actually completely new.
Wu Zeyuan, a film critic who can't write a good novel
70/100
This sequel seems to be more demanding of the audience's historical and literary literacy than Dumont's last Joan of Arc. Personally, I still prefer the previous work with singing and dancing rap.
New film from the last issue
Dinosaur eggs
Öndög（2019）
Director: Wang Quan'an
Writers: Wang Quan'an
Starring: Durham Jaff Enkhtavan / Ogrigradtu / Gantmur Allald
Genre: Drama
Country/Region of Production: Mongolia
Language: Mongolian
Release Date: 2019-02-08 (Berlin Film Festival)
North American Media Metacritics: - /100
French media Allócine: - /5
IMDb: 6.7 /10
Douban: 6.4/10
It's a very old-fashioned way of shooting, but there's a lot of new stuff mixed in, maybe it's the director's attempt. The story is simple, quiet, and tries to be powerful. But from the lens and cut, I still feel a kind of hesitation and uncertainty of the director. The beautiful panorama, the light at night, the need to weave a story while wanting to speak with images, most of them are quite comfortably balanced. If the whole film ends at about fifty-seven minutes, I would prefer that it is more "generative" or "organic". In particular, in the high-speed filming of camels and campfires, a naked female corpse invisible to the audience, a new unmarried police boy and a shepherd girl who has been single. They relied on camels to smoke and drink by the campfire to talk about "wildness". Then the old doctor autopsy, the police boy sees naked, the old police officer sings the young female intern, and all the stories can be told. But then there is the weaving theme, close to the national dinosaur egg part, especially the combination of ethnic music and dramatic love scenes at the end, perhaps a different kind of soundtrack would be better. There are also two longer passages, killing sheep and delivering cattle, which I think are worth rethinking whether they are used or not.
50/100
Primates (mating positions) and reptiles (dinosaur eggs) have been pulled together because of the common primitive habits to become a lame metaphorical allusion, what kind of species is disguised as an adult under the vast and magnificent natural landscape, or whether the reason why people are human is noble, Wang Quanan did throw out enough raw issues, but with stupid dialogue to destroy the dimensionality reduction, the expression became flat, the author is easy to get out, and the irresponsibility and powerlessness after the creative impulse are not enough.
Liu Erqian, a Hong Kong film researcher, Benjamin is the only main god, 50/100
The internal contradiction of the text is obvious, on the one hand, it tries to construct a meaning structure with "life" as the core under the shadow of "death", on the other hand, it loosens the narrative through the large material presentation of the grassland space landscape, and keeps the characters' emotions, time experience and meaning open, but these material presentations are too exposed or even routine because of the preset overall meaning structure.
Zhang Wu slow, once we start to study the image, it is already far away from us
30/100
The rejection of Wang Quan'an's works and the rejection of the fifth generation are in the same vein, and their overall creative methods, or the way they treat their subjects/objects, including shooting landscapes, shaping human figures, and building text structures, are all biased towards a painterly, and even sculptural, and this method is completely anti-cinematic (the nature of the film is towards its subject rather than toward the canvas). But the realist nature of the sixth generation has a struggle in it, and many of the mirrors in the second half make people almost forget the mannerisms of this "natural love letter"... But these alone are not enough to defeat the rigid and powerful creative program that hovers over it.
25/100
"Dinosaur Egg" is a work that looks amazing at first glance, but the more you think about it, the more uncomfortable you feel. A sixth-generation director portrays a classic fifth-generation directorial theme in a more modern way: Is the existence of such works necessary for us in the present? In the beautiful photography, the thin plot, and in the exotic Country of Mongolia, I still experience the white deer's attachment to the grand theme of endless life. And in this grand theme, the woman still does not change herself to be the object of the projection of desires that men cannot see, and then a container for self-sacrifice (see how Wang Quan'an represents the bed drama between men and women in the most rudimentary way), and is the sublime identity of the reproductive mother (the heroine's abduction of the gun to shoot the she-wolf is extremely unsuccessful). Wang Quan'an's set up of the murdered woman who swallowed the ring, her body with a puzzle-like temperament can be used as an irony to this work.
X/100
Empty, compared with the best Central Asian films in the past two years: "Centaurs", "The Gentle Indifference of this World", the characters in the film are completely vacant, and there is no carrier worth investing in emotion. Moreover, even the spectacle of Orientalism is powerless to shape.
Invisible woman
The Invisible Life of Eurydice Gusmão (2019)
Director: Karim Enoz
Writers: Murillo Hauser / Inis Bortagare / Karim Enoz / Martha Battaglia
Starring: Julia Stockler / Carol Duarte / Flavia Guzman / Antonio Fonseca / Hugo Cruz
Country of Production: Brazil
Language: Portuguese
Release date: 2019-05-20 (Festival de Cannes) / 2019-11-21 (Brazil)
Runtime: 145 minutes
French media Allócine: 4.1/5
IMDb: 7.9/10
Douban: 6.9/10
77/100
As far as the overly densely woven supernormal plot is concerned, "The Invisible Woman" may be the exotic "Long Day". But in the cross-linguistic situation, we cannot clearly identify the dividing point between the naturalness and drama of the characters, thus allowing for a certain degree of reconciliation of the two contradictory elements.
The biggest problem with Invisible Woman is that the 145-minute duration does not carry the time span of the work. This repulsion turns the epic sense of the film's content into an abrupt sense of dog blood, which makes the transformation of Juliedice's mental state into a sharp change, becoming an unnatural setting for tough women as victims of patriarchal society. The second problem is that when we talk about women, perhaps more portrayals of men will help explain feminism itself, and "My Genius Girlfriend" is more rich and three-dimensional in comparison. But perhaps this second problem can also be blamed on the first.
Peter Cat is a producer, founder and former editor-in-chief of Deep Focus
66/100
Too presupposed (hard) feminist perspectives, "achievement" is a kind of attention to the award, but weakens the script, functionalizing the main male characters.
Liu Erqian, Hong Kong film researcher, Benjamin is the only main god, 40/100
Perhaps the director should read a little bit about Benjamin: "The correct political tendency of a work includes its literary quality, because it includes the literary tendency of the work"; the radicality of the work of art is first and foremost reflected in its critique of established techniques and forms (The Author as a Producer).
35/100
The movie-going experience is very similar to Dog Thirteen, with female audiences experiencing the humiliation of real life returning to the soul + the double humiliation of being forced to cry by the director.
#濒临下榜
Daniel's face
Daniel Copes (2018)
Director: Marion Atlan
Writers: Marion Atlan / Anne Brauer
Starring: Patrick de Assam Cao / Theo Polga / Madeleine Vlach / Tristan Bernard / Adam Bishar
Release Date: 2018-11-19 (Balfour Interview Film Festival) / 2019-02-11 (Berlin International Film Festival)
Runtime: 59 min / 60 min(Berlin Film Festival)
Viewing status: Chinese character resources are available
North American Media Metacritics: --/100
French media Allócine: --/5
IMDb: 6.3 /10
Douban: 7.6 /10
Classical is a vocabulary, but sensory sensitivity and rhythm are a gift.
Qiu Sheng, baby writer, young director, old film fan
Pure stream of consciousness, where real time quietly regroups, spanning a winter, see the flower god of Botticelli's "Spring".
83/100
It reveals how a kind of extrinsic epistemology (rather than reproducibility) and pedagogy (rather than disciplinary) can produce fascinating and self-absorbed subjects. It doesn't matter whether Marty in front of the mirror is real or illusory, what matters is that Daniel did experience and learn love and death.
A door that sometimes slammed open, sometimes half-concealed, sometimes tightly locked, and behind the door hid all the fear and anticipation of a teenager.
Bonilore's "eyes", Carax's "body".
I can only think of this film as a nightmare about my own childhood, and the exit lies in the final unlocking sound. It's really a "film critic show time" work.
blackwater
Dark Waters (2019)
Director: Todd Hines
Writers: Nathaniel Richie / Mario Correa / Matthew Michael Kanahan
Starring: Mark Ruflow / Anne Hathaway / Tim Robbins / Bill Kemp
Country of Production: United States
Language: English
Release: 2019-11-22 (US on demand) / 2019-12-06 (US)
Runtime: 126 minutes
North American Media Metacritic: 72/100
French media Allócine: 3.9/5
IMDb: 7.6/10
Douban: 8.5/10
85/100
Haynes made a story of Eastwood's anti-heroic heroism, with a somber tone and a hidden needle in the narrative, which is better than most awards season films. And it is also the "creative inertia" of the middle-class family that he has always focused on, which injects a different temperament into this subject, but also weakens the figure of the victim (more than 3,000 people) to some extent. Several scenes, especially the information of several "key turning points" of DuPont's evil, reveal that the main point of view is told to anne Hathaway's delicate face, or it is not quite right. This treatment is internalized from the middle section into a signal of family empathy and professional awakening, and gradually develops into the main theme of the film in the later section, which is actually very unique, but it also makes the accusation that finally rises to the level of the national system less powerful, a bit like shouting a golden sentence. Mark Ruflow's gritty and fragile, almost naturally kind intellectual temperament is perfectly adapted to the characters, but he has also played too many such characters, a bit homogeneous. You can compare last year's "Thank God" and "Lamentations" to see what the effect will be if it is from the perspective of the victim.
Liu Erqian, a Doctoral student, Benjamin is the only main god
82/100
A film that would make one feel that John Winthrop's "city on top of the hill" promise still works. The audiovisual language is certainly not "author", but it is concise and efficient and powerful, especially the large number of slow and long shots that move sideways, in the gaze of the cold landscape of West Virginia, make Robert's gaze merge with the camera, which transforms him from a lawyer into a returning poet. Yes, there are various types of "map cannons" in the film, and the setting of the black lawyer is particularly interesting.
The long-lost orthodox Todd Hynes image of "Original Sin" is by no means licensed, and the positive and negative author's expressions carried by this real horror film have taken it out of the ranks of ordinary awards season films and became the fourth part of his first feature film, Poison.
It is too focused on the individual lawyer and tells the whole course of events very clearly, but it lacks the thickness of a more macroscopic cause and more specific emotions. Compared with the crimes borne by the main line and the brutality of the power encountered, the family and physical consequences of the lawyer are too worth mentioning to the audience.
67/100
From the image quality to the state of the characters, there is a long-term sense of Hines's work. Excellent documentary works, between Eastwood and Focus, are closer to the event than the former and deeper into the character's position than the latter.
souvenir
The Souvenir（2019）
Director: Joanna Hogg
Writers: Joanna Hogg
Starring: Ono Swindon Byrne / Tom Burke / Tilda Swinton
Genre: Drama / Romance / Suspense
Country of Production: United Kingdom / United States
Runtime: 119 minutes
North American Media Metacritic: 91/100
IMDb: 6.5/10
Douban: 6.5/10
86/100
Visually using a variety of media, a large number of empty lenses and specular reflections, it recreates a rather vivid and classical 1980s Britain. At the same time, the "reality of the past" and the "fiction of the present" are mixed together, exposing the "fragile and delicate" nature of the middle class.
What is important is always the empowerment of life, and if all memories are self-narrative, what it produces does not have to be a narrative self. Under the almost inexplicable fragmentation of each other, Joanna Hogg tries to bring together fictional images and memories in the testimony of "this past", in which emotions and postures in the flow of life are surging in the flow of life, all of which are added to the folds of form in the cold and simple performances, lines and scheduling. "Souvenirs" should not be mistaken for Bildungsroman, whose core constitutes opposition to Bildungsroman in every way.
84/100
A film about memories, full of ruptures. The whole movie is low contrast and faded, and the home of the heroine of the main space is completely a set, indicating that the story takes place on the stage of memory. At first, the heroine did not believe in the relationship between the movie and life, and then was "ruthlessly" involved in life and could not extricate herself, and the movie was completely left behind. Until the death of the boyfriend, the (double) meaning of the film is re-corrected: it recalls the soul of the heroine/director's lost youth, and the image itself becomes a souvenir left by the creator/boyfriend/life to the director, a replica of imperfect memory. It is obsessed with the material aspect of the film, and it is also beyond the material level, about the creator, but also about the film itself.
Like a female perspective, "Wild Innocence" may or specifically unfold the turbulent love affair in "Pain and Glory". Joanna Hogg presents a double nested "movie-life" with retro tones and messy plot fragments, fiction and reality are indistinguishably intertwined, even very twisted, but gradually merged into a kind of self-reflexiveness of a private film, saying her murmured creative manifesto: indulging in the pain of love, this pathological relationship derailed the once young self, but it is also the source of gradually correcting the creation, and finally becoming a souvenir in the face of the years. Joanna Hogg, a female director who has never paid attention to her before, is about to enter her old age at 60 years, and the film tone that creates a sense of remembrance at this time is perhaps the most appropriate time node.
Perfect casting! Honor Swinton's innocent and empty face and Tom Burke's scars reacted strongly. Julie ended up making an aristocratic era film, inadvertently looking into the darkness. Someone once tore my life apart and I loved him so much. Isn't that a very sincere emotion?
After mixing the british reticence and the twisting of the Pisces woman with the desire for self-expression of literary and artistic youth, such a strange autobiographical product was produced. The creators are both trying to distance themselves from memory and at the same time indulging themselves; they are both secretive about the details of the story and want to show and dissect themselves as intensely as an exhibitionist. Whether such an attempt is successful or not, at least "Souvenir" is generally fascinating on a sensory level. The sense of space presented by the proportions of the academy's paintings, the graceful and heavy art design, and the general image texture of 19th century British landscape paintings are enough to impress the viewer.
The existence of the second part makes the motivation of the first part a mystery, and then it may be debunked— reflexive and natural, dependent on transformation and structure, memory may be modified, emotion may be designed.
There is no rule, or a confusing narrative of the flow of life. It can also be said to be a stream of memories, which is the same as the meaning brought by souvenirs. The insertion of some private images shatters the narrative. The director wants to capture this spirituality, and if he can't get into the tearing and emotions between the hero and heroine, I'm afraid it will become a little boring. In fact, all the narrative films that want to map the film in the film, use life to map the life, the reflexive strategy is the director's good intentions, and it is not particularly prominent, they often talk about very simple things, and I will hope that it will be more abstract to present.