The audience first follows the photographer’s first-person perspective and walks into the story, and then finds that all the characters in the film are constantly lying to each other. , but what about the camera? At the beginning of the film, he declares that “the camera won’t lie”, which is self-justified objectivity, but what the image reveals is still a certain perspective dominated by the creator. Lou Ye cleverly puts the audience in the first person, allowing the audience to follow along. With the blurred atmosphere of the characters blending into the Suzhou River.
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So lies/truths, dreams/reality, pull Kuwait Phone Number each other. Confront each other, and question each other, how to distinguish. The camera provides some kind of discussion, which becomes the aftertaste of the Suzhou River flowing slowly, waiting for the audience to contemplate. He further said, “My camera won’t lie,” but human beings and characters will, so the “authenticity” of viewing becomes the “ambiguity” in the film, adding a layer of purpose.
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Projected to On the characters, Peony, Meimei, Ma, and the photographer (audience) in the mirror have become the mixed subject and object. And then summon the ghosts and mermaid myths living in Shanghai. Whether real or fictional, they can’t be dispersed. It is also the most exquisite brushstroke in Suzhou River. In my opinion, “Suzhou River”, as a work handed over by Lou Ye at the turn of the millennium, with a certain experimental nature, coincides with people’s imagination of the end times and the future redemption.
Lou Ye is in the video Traveling freely, coming and going freely. Created the author’s tonality of “Suzhou River”. And perhaps also laid the foundation for Lou Ye’s future director career and his indelible works. 04_When Philip Pope joined the post-production. Became a Chinese-language film with European colors. Photo Credit: Courtesy of Prospect Entertainment postscript Also on the topic of river water. I suddenly remembered the “Plumbing of the Spring River” that Beiying watched this year. The Fuchun River, which was meticulously carved by the cutting-edge director Gu Xiaogang. Completely inferior to Lou Ye’s free Suzhou River in terms of stamina and aftertaste.