The Artistic Features of Tintobras

1, the separation of sex and love, affection and color. In ballas's films, it is difficult to distinguish between eroticism and pornography, whether it is Romance of the Roman Empire, senso'45 and other films with distinct historical background and political opinions, or Monella, Fermoposta and Monamour. Indulgent adultery, lewd voyeurism, promiscuity with a sea of people, unscrupulous masturbation and so on. It can't be regarded as a simple description of debauchery. Erotic not only reveals his point of view, but also implies eroticism.

2. The beautification of women's bodies and the ugliness of men's bodies are another feature of ballas's films. He did not hesitate to use complicated photography techniques, trying various lights, angles and compositions, just to shoot a super beautiful female body and a beautiful female buttocks. In his films, women always represent beauty, sexiness, initiative and justice, while men represent ugliness, selfishness, incompetence and lewdness. Therefore, the heroines in Ding Du's films are all Italian girls with big breasts and fat buttocks. This is highlighted in his display of women's breasts, buttocks and genitals. In The Temptation of Young Women, the heroine sits naked on the dressing stool in the boudoir, and the sunset paints the room with a layer of scarlet. The girl's plump hips, sexy back, ambiguous warm colors and the misty St. Kyle's Cathedral outside the window constitute a natural picture, and the audience will only feel beauty rather than lewdness. In lover, don't cry for me, the heroine lies in bed with close-ups of her back and genitals-but most of them are long-range shots. At this time, she will find that the heroine is like Angel's oil painting "Maid in Palace": round, solid and plump, giving women healthy beauty.