What's the photography style of the movie "Ashes of Time"?

The works of Wong Kar-wai and Du Kefeng have always been characterized by complex and gorgeous light and shadow. However, this work follows the gorgeous (such as the peach blossom in the river, the dialogue between Ouyang Feng and Murong Yan) but at the same time it is more concise-the lines of the picture are simple, and the art follows the principle of simplicity, such as the thick desert, an independent tree in the desert, wind flags and wooden stakes in front of hotels. I think this is in line with the film style and people's psychological situation.

In addition, some elegant tulle, Shui Ying, yellow candlelight and other swaying light and shadow are some elements that Wong Kar-wai and Du Kefeng like.

The photography of this film shows the theme that has always been entangled in the cage of love. For example, at the end of the film, Hong Qigong asked Ouyang Feng: I wonder what is behind this desert? Ouyang Feng replied: That's another desert.

People seem unable to escape.

Composition:

Irregular composition, inclination and disproportionality are used, such as desert loess occupying most of the picture, blue sky only occupying a small part or vice versa. Like Zhang Yimou's One and Eight, it is unconventional in composition, but unlike One and Eight, Ashes of Time is exquisite and has a different kind of beauty. In addition to aesthetic significance, this form matches the content, and it is this oblique and irregular composition that clearly distinguishes the film style from realism, with a strong taste of freehand brushwork, less primitive life and more emotional appeal; It makes people feel that the whole picture is full of an unforgettable dreamlike emotion.

A lot of high-speed photography makes this dream and reminiscence more obvious, and even feels that time passes like running water, and people can do nothing in the face of love disputes, just as its English translation: the ashes of time.

Tone and intonation:

The overall tone of the film is low-key; The yellow tone, desert, flickering candlelight and the use of some, such as rotating bird cages, make this memory elegant and touching.

When Ouyang Feng and others recall their lovers, they all use bright colors: the flashing light and shadow of Yin Hui reflected on the peach blossom face, and the bright red clothes of eldest sister-in-law. In their hearts, love is always the brightest memory in their hearts.

Goodbye:

Close-ups and close-ups are used in conjunction with Daquan's large field of vision, and people's loneliness and sadness are magnified in close-ups and close-ups, while the lens or empty lens of Daquan and field of vision makes people's loneliness and sadness more distant.

It is worth mentioning that a large number of beautiful empty shots in the film are full of artistic conception and full of emotions, which are similar to Hou Xiaoxian's sad and indifferent emotional empty shots. The difference is that Wong Kar-wai's empty guns are sad, but they are powerless after China's entry into WTO. It can be compared as follows: Hou Xiaoxian's empty shot is cold mountain spring, while Wong Kar-wai's empty shot is thick and pure red wine.