Park Chan-wook's psychological distortion and perversion is a must. The previous "Revenge Trilogy" needless to mention, the previous "Miss" is also a consistent routine.
Coming to this "Determination to Break Up" is still a continuation of the expression method of externalizing inner emotions.
The love affair between a mysterious Chinese woman and a South Korean police officer is filmed in a gripping, incomprehensible, and finally liberating. Moral emotions are always hovering between the two, and each has his own opinion.
People who like Park Chan-wook worship as gods, and people who don't like or don't feel it sometimes don't even know what he's shooting.
From the perspective of script creation, this "Determination to Break Up" will roughly be the level of passing, and the main focus falls on the unique lens language of Tang Wei and Park Chan-wook, and I can personally give 7 points.
First of all, Tang Wei's personal performance is a good performance than the decent.
Because it is the label of the goddess of literature and art, and it is a foreign film, it is a gimmick.
Add to that the legendary Park Chan-wook's tailor-made film for Tang Wei. All of the above add up, which makes people's expectations for Tang Wei full. Looking at the whole thing, it can be said that this kind of expectation before watching the movie has not been disappointed. It is already very difficult. Tang has only one unique temperament that allows her to integrate well into the role when shaping the role. Makes it look very pleasing and natural.
The core of this role in this film is actually an inner overlap with Wang Jiazhi in "Color Ring", to some extent.
For the male protagonist, there is a kind of "love, but unapproachable emotion". While self-repression, he is constantly looking for an outlet to release. This dramatic tension is well shaped by Tang Wei. People can always feel that their emotions are on the verge of collapse.
Tang Wei seems to have a special feeling for this kind of inner entangled, even twisted role, and he is familiar with the road. However, due to the level of the script, for Tang Wei's play space, it is not as broad and deep as "Color Ring".
The second is Park Chan-wook's lens language, which is the most important thing for many Park fans and film critics.
Here are two paragraphs, everyone can experience it for themselves. The first paragraph is a surveillance clip of the male protagonist's daily life of Tang Wei in the first case. In the previous shot, the male protagonist was still using a telescope on the roof opposite Tang Wei's house to monitor, and the latter scene turned into the soot in Tang Wei's hand and fell, and the male protagonist suddenly caught it with an ashtray. This spatial dislocation of the shooting method greatly increases the "sense of presence", giving the audience a very sudden psychological and emotional progression. At the same time, it also abruptly increases the atmosphere of suspense.
The second paragraph is that the male protagonist found something strange in the mobile phone of his grandmother who was cared for by Tang Wei, thus restoring the paragraph where Tang Wei killed her husband. The above method is still used, from cross-editing to the sudden "time-space merge" of transitions.
On the top of the mountain, from Tang Wei's perspective, he suddenly switched to the perspective of the male protagonist. Everything adds to the suspense and tension of the story. Including finally turning from the male protagonist, Tang Wei rushed over, and then switched to Tang Wei's husband being pushed off the cliff. This short few seconds of switching back and forth seems to make the audience immersed. If I remember correctly, Lou Ye in "A Cloud Made of Rain in the Wind", Jing Bairan went back to the scene investigation decades ago and directly transferred to Song Jia's wedding at that time. It's a stroke of genius, all in one go. The narrative style and logic of this kind of lens are very suitable for shooting suspenseful murder films, and Park Chan-wook uses it very skillfully in this film. The same is true in the second case that follows.
Then we talk about Park Chan-wook's composition and color, such as the passage where the male and female protagonists meet to scatter ashes at the end, and the picture of the whole scene is cold and full of texture.
There is a kind of trick to it. It is a good reflection of the emotions and desires of the male and female protagonists who struggle in their hearts.
From the beginning of the two people are at the left and right ends of the picture, to the later Tang Wei rushed to the male protagonist from behind, the male protagonist's frightened performance. From metaphor to explicit, the emotional relationship between the two people who cannot be together but cannot make up their minds to separate is vividly expressed.
Finally, the scene at the end of the sea is also the reason why many people like this movie. You can call it "aesthetic death." ”
At least for Tang Wei. This part reflects Park Chan-wook's extreme and even extreme aesthetic pursuits. This part he has often done in previous films. Tang Wei buried himself and let the sea smooth out all traces. It is the most profound impression on the male protagonist, becoming a case that he can never solve, and forever engraving the male protagonist's heart in this way.