As a veteran viewer, I'm immune to the techniques of most movies--- wonderful special effects? Reversed plot? Unexpected ending? Beautiful shots? Interesting story? No, as a veteran viewer, for many movies with high ratings, your evaluation is only:
"It's fine."
Although there is always a part that will poke the soul, although there is always an angle worth recommending, although there is always an unexpected ending, but for a smelly and hard stone, it is more concerned about the part outside the film industry, the purity that overrides the technique, the plot that advances in the subtle relationship, the waves and undercurrents under the calm river, the understanding and empathy of the characters.
And it just so happens that this Italian-quoted "Perfect Stranger" did it.
Good movies are often literary, writers construct the world through the edge of the pen, and directors use the lens to weave the world. Unlike the writer, the world constructed by the text can derive any form imagined by the reader, and the director uses the lens to collapse it into a fixed form. So in addition to literary language, there is also a visual language in film.
However, what really makes me feel satisfied from the heart is that even if the director collapses its literary nature to some fixed form, it can still leave an afterglow outside the lens, so that the audience can get aesthetic satisfaction.
Apparently, Perfect Stranger did. From a literary point of view, the arrival of step-by-step information and the re-deconstruction of relationships are both accelerants for plot advancement, and the more wonderful part is that this part of the information is both an accelerant and a resistance.
In such contradictory information, the literary script of the film lays a very high literary foundation, which can be called a model for the short story.
On the other hand, the director integrates a large number of social pain points at the small dinner table and quietly unfolds them in the relationship between the characters. The most ingenious part of human nature is that you can always rationalize your thoughts and actions, and the second contradiction in the movie is the negative emotions that burst out in the contradiction between self-rationalization and irrationalization.
This emotion may be anger, disappointment, confusion, fear, but in the end, it all comes down to the theme of the movie--- "strange".
What should be the most perfect partner and friend is the most perfect stranger. This alone is enough to appeal to the vast majority of people in terms of intention. To be honest, small cost, simple table, full dialogue, a lot of foreshadowing, such a plot and setting is not pleasing, but if you can find the subtle contradictions in it, find the value position of the characters themselves, then this movie has become a living real world.
The contradiction of "information", the contradiction of "rationalization", in addition, on a more macro level, the film shows the contradiction of "people".
We often see movies that expose the smallness of "man--- face nature, face power, face the universe--- but "Perfect Stranger" brings us a new perspective:
In the face of "social relations", "people" are equally small.