Ten minutes of age--- Histoire d'eaux (Italy)

Life, not as long as imagined, people's life or right or wrong, good or bad, just so short a few years, ten minutes of image life has passed many years, such as water flow non-stop, this time if you look back, maybe you can wait for the soul that is pulled down by their own too fast, often turn back is not necessarily a bad thing, do not go over the old road is the most important in life, after all, short life does not allow us to re-walk the road we have walked, after adolescence is youth, youth is old age...

Fate, some people say that character determines fate, everyone has their own destiny, everyone can not predict their own future, every day is faced with live broadcast. So we face new stories on a new day, and we interpret our future with our lives. Knowledge changes destiny, we are working hard to learn knowledge, explore the trajectory of destiny, and seek the best life.

The protagonist of the film is an Indian refugee smuggled into Italy. Just across the border, an old man came to the big tree in front of the bullpen and sat down to play the flute, the hero asked, told the boy "my name is Blue, you will remember me", the hero helplessly washed his face by the river, met an Italian girl, and changed his life. He married the girl, had children, and had a stable and happy life of his own. One day the new car he bought fell into the river, but fortunately the whole family was safe. At this time, he heard the sound of a flute wafting in, looking for the sound, and met the old man under the big tree in front of the cowshed. As if realizing something, he knelt down excitedly, and nearby, the road from the time of the smuggling had been connected to the railroad tracks, and the train rumbled past.

Theme: The name of the film is "The Story of Water", which also shows the life and destiny that flow calmly like water. The whole film is linked to water, and the water symbolically appears five times in the film, and it is a substantial transition, and it is also a very important turning point in life, however, life is not satisfactory, and the flow of water is occasionally blocked. There is always something that remains unchanging, is it the understanding or truth symbolized by the old man?

1. Hue

The director of this film chose black and white gray as the tone of the film, and the black and white scenery, with philosophy, made the picture have the feeling of a classicist sketch. On the one hand, in the composition of the picture, the black and white gray reflects a single, emotion, story, picture are very single, and there is no ups and downs, twists and turns of the story; on the one hand, the bridal amniotic fluid is broken, the tension of the people is minimized, and the expression of the heroine in the picture is used to explain the event with the performance of the person next to him. On the contrary, it shows that tension and uneasiness at a deeper level.

2. Light

In this film, the light does not do a special treatment, but a natural scattering, the characters in the play perform in natural light, giving the audience the most realistic feeling, and two-thirds of them are filmed outdoors. More than half of the indoor shooting, on the whole, still seems to be harmonious, without unnecessary burdens or incongruity.

3. Farewell

In this film, with the short and medium and close-ups, the relationship and development changes of the characters in the film are expounded, the psychological description, and then the long-range and rocking scenes, in which the long-range and rocking scenes explain the location and scene of the development of the story, and give the film the maximum supplement to the location and plot of the development of the story.

4. Sound

In the film, the sound runs through the whole film, there are character dialogue, music, noisy sounds, children singing, mostly live sounds, which restores the audience a most real story, so the sound gives the film the maximum improvement, the sound of this film is extremely complex, but it is not chaotic, giving the audience the greatest sense of reality.

5. Screen

"The Story of Water" has about 87 shots (roughly calculated), although the film has 10 minutes of time, it can be said that the long shots are still used more in this film, the hero goes to the big locust tree, the hero goes to the bar, and the party dances. Etc can be said to be long shots, in the picture composition of the whole for the regular composition, large scenes (small aperture) in the filming of the film is also used a lot, you can clearly see the distant scene, give the audience a sense of relaxation, and there is not much sense of depression, this is also the director's deliberate arrangement, to maximize the restoration of reality, the use of the panning scene is also quite a lot, it can be said that the kind of floating uncertainty of life, tossing and turning also reflected, the hero himself Italian, and coincidentally with the heroine acquaintance and love, There are many things that happen later.

6. Structure

The connection between the shots is tight, there is no unnecessary waste shot, the lens language is highly condensed, through the metaphor of water, it runs through, cleverly transitions to every link, it can be said that this is the essence of the master director here, the hero walks to a strange open place, prepares to wash his face by the river, smells the hostess of the bar next to the grass, strange, lonely and fast love, when the moving folk song sings, they dance, marry, have children, shy and warm handshakes, plain happiness, Finally, in a seemingly philosopher's summary: "Life is a long road, after all, there will be some unsatisfactory." In just ten minutes, it tells the story of the past few years of time, and the heroine's quiet, idyllic, silent face has a kind of ordinariness and joy of knowing the destiny and being safe. There are two hints of sexual organs in the film, and both are closely related to growth and change. Once, when an Indian man who had just arrived at the Italian girl's house was taking a bath, soap had just touched his underwear, and the camera turned and he married her; the second time, in the celebration of the wedding, the bride's amniotic fluid broke, and the camera turned, and their children grew up. Both of these points are also important processes of life.

7. Themes

People's life, we can not predict, the future road is what, no one knows, we can only grope forward, the road ahead is not smooth sailing, we can only absorb the experience of the predecessors, do not go over the old road of the car, the film in the hero and the heroine of the acquaintance itself is a fate or coincidence, there are many uncertain factors from there, if the heroine's car is not bad, they will not know each other, they will not fall in love, The film cleverly uses the paste point of water to connect the fates of the hero and heroine. In the end, they came together in the expectations of the audience, and the children were so old, in the eyes of the Chinese, it may be the ending that everyone expects, and it is also what we often call the comedic ending. And the master director once again exposed the floating uncertainty of fate, in the eyes of the audience, the hero drove to pick up the heroine and the whole family for a ride, like the hero of the Chinese film, the plot of returning home, we can still accept it, we are excited to be with the hostess public encouragement, but the tragic thing happened, the car fell into the quagmire, fortunately there were no casualties, the audience gave a huge contrast in the heart, this is the master's thoughts, and finally echoed with the opening flute, The hero returns to the original place, and the old man is under a big tree, symbolizing that the wise man has gone through the vicissitudes of the years and has an absolute right to speak. He expounded the idea that "life is a long road, and it will be a little unsatisfactory after all", pointing out the theme of the film.

8.Explain in detail the expression of the director's theme ideas and the use of audiovisual language in the shot:

Shot 1-5: At the beginning of the film, a group of people who do not know where they came from and where they went, but when they crossed the crossbar and walked through the potholed stone road, they walked on a flat dirt road, explaining the location of the story, the characters, the use of various shooting techniques, and the place, and also hinted at the tragic and uncertain fate of the protagonist.

Shots 6-8 lead to two protagonists in the film: Blue and an unknown person, the male protagonist. When the hero follows Blue out of the crowd to a large tree, Blue says to him, "My name is Blue, and you will know me." "Explaining the relationship between the characters, for the final point, here lays a deep foreshadowing for the film."

Mirror Number 9: At this time, the hero is suddenly a little overwhelmed, his expression is extremely complex, his face is close-up, and he turns around in the same place. He walked by the bullpen, no one knew where he would go, and once again pointed out the uncertainty of life.

Mirror number 10-11: close-up of the cow's eyes, the cow's eyes seem to be full of tears, seeing the male protagonist leaving, the cow's eyes more vividly enlarge the old man's eyes, which seems to be a kind of reluctance to the hero, as well as the uneasiness of his fate. The old man's last flute is also a farewell for the male protagonist's subconscious, everyone's path must be taken by themselves, and others will only be a passerby.

Mirror Number 12: The hero goes to the lake to wash his face, where the water appears for the first time, bringing him clean and refreshing, and also finding a connection point for them to meet.

Mirror No. 13: The hero who washed his face on the shore heard a strange sound coming from behind the group of tall reeds behind him, he passed through the reeds of Cheng Cong and found that it was a woman's car that was broken, and there was an aluminum barrel behind the car, she kicked the car angrily and angrily, and the mouth was still cursing, but he was smiling in the reeds, this is the scene when the heroine appeared, he explained a possibility of their acquaintance, repairing the car is the connection point of acquaintance and love,

Mirror Number 14: The hero comes out of the reeds and wants to help the heroine, but out of legitimate defense, the heroine is twice ready to refuse, fighting to protect her motorcycle, which is the embarrassment of the hero and heroine when they first meet, the hero is directly crouched next to the car to prepare for repairs, repairing the spark plug of the motorcycle, which also implies that they will have a spark of love, laying the groundwork here. The hostess dispelled the idea that the man in front of her face was a bad person, so she sat on the aluminum bucket and looked at the mysterious man.

Scene 15-18: The hero looks from the heroine's leg to the face, the heroine also keeps watching, after two rounds of looking at the hero's face, the hero shows a smile, and the heroine also smiles indicatively, which is also a manifestation of acceptance of the hero. At this moment, from close-up to close-up, to over-the-shoulder shots, it hints at the transformation of the relationship between the two.

Shot 19: Then, he helps the heroine repair the car, and the two have a love pulse in their eyes, and follow them back to her home. A back-up shot and a rocking scene explained where they went and the environment. The two certified ones are together, and they are held together.

Shot 20: The hero and heroine prepare to enter the bar, the hero puts an aluminum bucket on his head to embody an Indian tradition, a waitress comes out, the waitress's expression is very peculiar, because the heroine brings a person who is not a local, in their eyes is a foreigner, so it is full of curiosity.

Scene 21-28: The hero eats, drinks water, and the water appears for the second time, during which the waiter's expression is interspersed among them twice, closely linking the audience's heart with the waiter, and looking forward to what will happen next? In the heroine's home, the two found that the heroine can only speak Italian, the hero can only speak Hindi and cause communication difficulties, the helplessness of the hero and the heroine is also reflected vividly, which is basically the beginning of indoor shooting, using close-up shooting, reflecting the relationship between the characters, and finally forced to helpless, the heroine - Joe Weiss pulled the hero with her. As for going there, it leaves a big question mark for the audience, and once again mobilizes the audience's heart, which is also a need for a transition.

Shot 29: Immediately after, the camera switches to the scene where the hero is bathing in the bathroom, this is the third time the water appears, washing away the dust of the hero's memory, pointing out the main theme of the film, the heroine handing the man soap to the shot, the soap touches the male protagonist's sexual organ when it is another transition, and close-up, the span of this period is quite large, through this metaphor and express the passage of time, they from the beginning of acquaintance to the point of falling in love, with just a few shots to express the rapid passage of time, The director's mind expresses this in a subtle and accurate way.

Scene 30-36: Then there is a shot of the hero and the heroine embracing each other in dresses and dancing with the guests. The editing in this place is not ingenuity. First, the scene of the hero taking a bath in the bathroom can be seen as Joe. Weiss's behavior after pulling him away can also be seen as what he did before the banquet guests, and the camera's starting and closing is clean and sharp, without any sense of contrivance, and gives people a refreshing feeling. Second, the choice of the scene where the hero bathes in the bathroom can increase the appearance of water in the short film, and more in line with the characteristics of water as a clue, so that the audience never forgets the story of this short film is water. Interspersed with the waitress smiling affirmatively, it is once again affirmed that they have accepted this outsider, and they kiss so selflessly. Finally they came to the old man to listen to the old man's country music, during which they looked at each other several times, but they were so loving, and the waitress was still interspersed with it, always reflecting the director's idea, because the waitress played a secular face.

Scene 37-45: The heroine's amniotic fluid rupture, the waitress and the heroine's performance, the close-up of the shot, reflects that uneasiness, this is the fourth time in the film, it is the heroine's amniotic fluid, amniotic fluid gives birth to new life, protects the fetus and gives him nutrition, represents the beautiful future of mankind and the generational change of mankind, and the director designed the amniotic fluid to break this shot when they were feasting on the guests, which is really meaningful. First, this represents a small episode brought by life, which is unexpected, because no one would have expected that amniotic fluid would break at this time. Second, amniotic fluid represents hope and gives people a good yearning, and the amniotic fluid suddenly breaks, although there is no substantial danger, but it will still bring people a little worry of beautiful disillusionment. Doesn't this happen at this beautiful moment, which means that difficulties, setbacks and dangers are forever hidden in the good? This is the inspiration that the director brings to the audience, and so is the bumpy road of life.

Scene 46: The hero is doing Hindu worship, the son has grown up and is singing nursery rhymes on the side, and the hero looks at the son with relief, perhaps she is thanking God for everything he has brought him, close-up, illustrating the story.

Scene 47-51: This is the scene where the waitress refuels the gas station, which can be said to have little to do with the film, but the boy's voice has been running through these pictures, which can also be said to be another high point of the master director, hinting at the passage of time, the heroine is grabbed by a guest,This also hints at the secrets that are not known during the period, perhaps this is the fatal blow of the hit on the road of life, we fantasize about various endings, and look forward to the development of this story. In the end, the hero and his son are still sitting in that place, the son is still singing, and the flag next to him is so floating that it hints at all kinds of things.

Scene 52-63: The hero bought a jeep, when the whole family was ready to take the car for the first time, the family happily made preparations, waiting for the hero to drive the car, seeing the hero drive the car, they cheered and jumped, the son was also waiting on the side, seeing the hero come, the heroine shouted excitedly, quickly stepped forward into the car, the hero also smiled in the car, the son also showed a smile on his face, the hero parked the car, jumped up excitedly, Natural Indian dance is not forgotten, and here it is once again pointed out where it comes from and the country, and Indian songs rise up spontaneously. The master Director Bertolucci was very concerned about oriental metaphysics, and had "the last emperor" and "little living Buddha", so this part was gratifying in the eyes of Chinese, and used the shake scene to shoot the location.

The water that appears for the fifth time in the 64-75 film is the water that brings them sadness, reluctance and danger. The car fell into the river. When the car was pulled up from the water, everyone's face was full of sadness. Sadness, disappointment, and reluctance and danger for the new car are all around their families. Life has brought them difficulties. It was a happy thing, but it almost lost the life of a family member, and the director aims to convey that perhaps there are some dangerous factors in the good things in our lives. The first is a back shot, explaining the location, finishing the close-up, and the last one is sideways, and several characters present have close-ups of the faces, explaining a complex heart of the characters at that time.

The scene of the water that appears in the film 76-81 is over, and the hero listens to the familiar flute sound for many years, listens to the distant voice, and goes alone to find the inner call. The wires interspersed in between are like a signpost to lead him home, listening to the sound, looking at the wires, to find the original roots, it can be said that this part is the most philosophical part of the film, the upward shooting part occupies the majority, which means that the hero has also realized a lot and begun to mature and sophisticated.

Scene 82-87: Finally, the hero finds Blue, who said he would know him. Years later, Blue was still sitting under the big tree. When the hero approached Blue, the words "I knew you would come, life is long, there will be some dissatisfaction in the end" came from Blue's mouth to his ear, and he knelt down to worship Blue like a Buddha. Perhaps Bru is the Buddha of the world, who gives people a clear indication to appear when they need him. The big tree behind him is not Bodhi or not, but prefers to believe that the big tree is like the big tree of Buddha's meditation, it is bodhi. The eyes of the cow are once again close-up, and a schematic wink seems to give the audience a certainty, the hero can return here, face his own misfortune, listen to the teachings of the old man, in our eyes we are very happy to accept, but also very sure of the hero, nearby, the road from the time of smuggling has been opened to the railroad tracks, the train rumbles by.

About author:Sun Aiqing, a native of Jingning, Gansu. Major in film and television editing and directing, bachelor degree, bachelor of arts, member of the Communist Party of China. The general director of the first college student Spring Festival Gala in Jingning County, the general planner and general director of the first college student Spring Festival Gala in Gansu Province, the general director of the second college student Spring Festival Gala (Pingliang Station) in Gansu Province, and the third college student Spring Festival Gala (Tianshui Station) in Gansu Province.

He has interned at Lanzhou Television Station and Gansu Children's Channel, choreographed and filmed more than 50 films, and his works have won awards at domestic and foreign micro-film festivals for many times. Performed more than 20 works of music and art, including sketches, cross-talk, allegro, singing, magic and so on.

He is currently the editor-in-chief of Gansu Provincial College Students Quyi Network, the intern general manager of Gansu Demei Culture media Company, the general director of the Spring Festival Gala of Gansu University Students, a member of the Gansu Young Photographers Association, a director of the Pingliang Film and Television Artists Association, and a young director of Gansu.