The colors are tedious, and they are true.
"Contemporary film narratives do not produce meaning", to put it bluntly, contemporary films are not works of art, but just consumer goods.
It is really necessary to create a work that tells everyone: this is art, this is the artist; Art, artists, that's how they are generated.
For example, the following 8 movies -
1. Sister Ida (2013)
Director: Paul Pavlikovsky
Starring: Agata Kulesha / Agata Tezebkhovska / Joanna Curig
"It's an image spectacle, and whatever shot you pull out is a perfect still image."
"Sister Ida" is a photography textbook, every picture, every shot is exquisitely crafted. The composition, editing, character scheduling/positioning, are all almost perfect. It is like inheriting the image tradition since Bresson, a kind of introspective video tradition. Dignified, elegant and beautiful.
Each frame adheres to the beauty of the golden section like an obsessive,minimalist expressionless and emotionless way of performing, leaving all the small but huge historical story backgrounds and life perceptions blank, and making the final conclusion of growth in the formal transformation of the last shot. (Beef brisket sheep ears)
2. The Horse of Turin (2011)
Director: Bella Tarr
Starring: Janos Dezs / Erica Bock / Mikhail Comos
"Death has sunk". Before He died, God said to His people, "When I leave, you don't have to cry.
"A god work that requires patience to watch, the film is experimentally as strong as any philosophical masterpiece, every black-and-white shot is the anti-Genesis reverse project that the director wants to express, and when the light of the sixth day also disappears, all the lengthy repetition and hardship are over." (Much)
For me, there are only two greatest directors in the world, the deceased Andrey Tarkovsky and the closed Bella Tarkovsky. For most others, cinema is just cinema, and for them, cinema is a means of philosophical reflection. In this way, he never expresses triviality and vulgarity, never shows the seven passions and six desires, only the most fundamental and abstract propositions, and man is endowed with the honorific words of God. Look up at the stars and get out of the ordinary world.
3. The Artist (2011)
Directed by: Michael Hazanavicius
Starring: Jean Dujardin / Bergenis Bejo
Eighty-five years in an instant, the movie this time machine is the greatest invention of mankind!
The director uses the transformation of silent film to sound film to secretly speak of those actors who have been "abandoned" by the times, and at the same time pay tribute to them that will never fade, and anyone who loves movies will be moved.
A pure screen movie is not a show off, but only by seeing this light and shadow on the screen in the theater can you savor every bit of its beauty, and you can be deeply moved by such a pure story after watching the movie with a skeptical and nervous mood. It was like a long-lost best friend, bringing greetings through time and easily hitting the atrium of my heart. (LORENZO)
4. The Absent Man (2001)
Director: Ethan Cohen/Joel Cohen
Starring: Billy Bob Thornton / Francis McDormand / Scarlett Johansson
Black, eerie, with unusual calmness, and excellent black and white images.
The official version of the film is a black-and-white version, which was filmed on color film and printed in black and white in post-processing, so that the details are richer than those of traditional black-and-white films. Processed into black and white, on the one hand, the two brothers are in line with the classics in form, on the other hand, this colorless world can better express the intention of the two.
Black and white tones, a low and troubled male voice, a question-and-answer and self-dissection of the heart and existence, a criminal serial case based on extramarital love and chance, events such as surreal flying saucers, and a disc in inertia (consistently used), this work is the director's best work on the inner and existentialism of the characters. in Skovatsman
5. The Face (1968)
Director: John Kasowitz
Starring: John Marley/Lynn Carlin/Gina Rowlands
He grudgingly smiled. She laughed in agreement. He walked out of the room onto the veranda and disappeared under the steps. Her first reaction after he left was to breathe a sigh of relief and seem comfortable. --O'Neill, "Long Day into Night, First Tomb, Curtain Fall"
What is even more frightening about the things that are killed is that they are not dead yet. What a deadly movie!
Very pure intellectual taste. Even the 16mm camera does not delay Kasowitz's talent, and the scheduling and transformation of various scenes are completed in one go. Comparable to the French scene scheduler Jean Renoir's film "Rules of the Game". Amazing use of lenses, photography, editing, acting. Very beautiful film.
6. Baghdad the Donkey (1966)
Director: Robert Bresson
Starring: Anne Vyazemski
There are only a few people who insist on thinking in terms of film, and Bresson is one of them. The way the film tells its story and the cinematic approach (especially the editing) has reached a point of astonishment.
Influenced by the Janssen School, Bresson did not believe that the character's behavior should have its own psychological motivation, and the character was always fighting against the will, and always headed for fatalistic tragedy.
The rhythm of "Donkey Baghdad" is reflected in the relationship between the picture and the picture, and between the lens and the lens. Meaning does not come from the picture and the lens itself, but from their transitions. This is probably the artistic technique advocated by structuralism. That is to say, two (more) shots and pictures must be connected to know the meaning of the film, and the individual shots and pictures are meaningless, and they do not know its meaning at all, or if they are understood individually, they will form a wrong point of view. It simply functions as its location, not its meaning.
7. "The Mask" (1966)
Director: Ingmar Bergman
Starring: Bibi Anderson / Liv Uman
Sometimes the hardest thing to face is to talk to yourself. Each shot is exquisite, with many beautiful silhouettes.
Two people, one who had been talking and one who had been silent, actually held up a play, and the people who watched it were fascinated and shocked. Not necessarily fully understood, but completely shaken. Bergman, that's Bergman! (IRA)
Through "Masquerade", we see a cause that brings together geniuses, never stops, and constantly innovates; We see a work that is delicate and smooth, showing pure beauty, but also seems to be a little too self-inflated; We also see a creative, erotic, and exaggerated taste that may seem pretentious but enough to embarrass the low-profile intellectuals. (Susan Sontag)
8. Andrei Rublev (1966)
Director: Andrei Tarkovsky
Starring: Anatoly Solonitszen / Ivan Lapiv / Nikolai Greenkol
The lens is too beautiful, as if each frame has its own soul, the theme is too grand, and the expression is too restrained.
The halo of Saint Andrei Rublev faced with the question of reality and faith under the trampling of the Tatar Iron Horse, the film chose to dialogue with the deceased, and the deceased, taken away by three winged angels, completed the multi-angle dialogue with it in the same shot, which is the exit of a dead end, this shot and dialogue are like dreams, and the cleverness and suitability of the parallel fusion of the picture and the problem You will definitely find a second film expression.
God created priests and ghosts created wandering craftsmen. The chronicle epic of the scattered structure has more compassion than bloody human trauma. Just as Rublev painted icons in the film, the old tower also borrows the film itself to paint the ukiyo-e, and the wonderful lens aesthetic can be seen everywhere, and there is a sense of the times that break through the established history.
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