An analysis of the film Confessions from the perspective of audio-visual language. (Fragments will do)

I have written film reviews before. Please refer to the extract for your reference.

Tetsuya Nakashima's The Life of Abandoned Pine Nuts is one of my favorite movies, so I'm also looking forward to his confession. I saw it last night and really enjoyed it.

High-scoring movies have always had bad reviews, but it is rare to see movies with four or five stars. About half of the first two pages of useful short comments were given to one star and two stars. What is even more difficult to understand is that most of the bad reviews are people who watch 2000+. This even makes me doubt my own aesthetics and taste.

I think Confession is a very stylized film, especially its photography, editing and soundtrack. Different from the regularity of linear stories in the past, the film is presented from the perspectives of teachers, teenagers A, B, B's mother and monitor. Unlike many short stories, they are told one by one. The five subjective perspectives are interlaced with each other through a large number of inner monologues, sometimes flashing back and forth, and various variable-speed lenses are used repeatedly, using short frames inserted into the lens, and the sound processing is quite unreal.

A film made up of these elements may seem exaggerated and artificial to many people. I think it is precisely because they are so deliberate that they cater to the theme of this film-the value of life, childhood trauma, abnormal growth, lack of affection, moral bottom line and social responsibility.

We can also find many shadows in the previous work "Pine Nuts", that is, the tragedy is presented in the form of comedy: for example, at the beginning, the teacher finished a lengthy and cruel confession, and finally warned everyone to "cherish the spring" with warm and inspirational music; Another example is the subjective segment of teenager B, but in the process of its decadence, funny music sound effects are used. This highlights the tragedy of the story. Another example is the bold use of light, shadow and color in Pine Nut. The photography of confession comes from the same handwriting.

"Tetsuya Nakashima was born in the MV. However, it is really puzzling that the film narrative is so vulgar and stupid. Is it sad to turn off the picture and watch it like music and subtitles? "

When shooting MV and feature films, we are most afraid of what the voice says and what the picture is. Sing a rose. The picture shows a rose.

However, "confession" is not the same as what the film critic said, even if you ignore the picture, you can tell a story. There are many scenes in the film that are deliberately arranged, resulting in conflicts between sound and painting: for example, before the scene of teenager A killing his girlfriend (but this is the story of teenager A and his mother's childhood), where teenager A dropped his knife, his mother opened the scattered parts of his childhood toy. Obviously, this can't be presented only by sound and subtitles.

According to this guy's idea, all Hou Mai's works are converted into mp3 as radio dramas. "Is it sad?"

"Oh, my God. All kinds of (boring) somersaults, all kinds of (general) turns. Husbands and wives of all kinds are fighting with each other. Even selling rot. You're filming mtv. Really awesome. "

"Flip", if it refers to the reversal of the lens, only appears in the little invention of the inverted clock of teenager A, one is not "diverse" and the other is not "boring". The imagination of going back in time and the tears of the mother in it present an illusion that cannot be expressed in the serial stories.

"Distortion", if it refers to the distortion of the lens and the use of deep focus, does account for a large proportion, which is also the amazing place of this film photography. But since they are all said to be "distorted", how can they be "ordinary"? Didn't you say that the emotions expressed were average? Personally, the distorted lens is mostly a bridge connecting the main story, and the role of rendering atmosphere has been achieved.

I really don't know what else to say: "a man's wife is righteous" and "selling corruption". There is a Buddha in her heart, and people are Buddhas; If you have shit in your heart, it's shit to look at people.

"Why do so many people give such a big piece of garbage to five stars ... poor radio commander and Boris were raped alive. Soon after the opening, he was defeated by his meaningless, artificial and disgusting shots and editing schedules. Childish. Boring dismissal is just a sneer. "

The bold, formal and stylized shots of the film have been mentioned before, such as Quentin? Talentino's violence aesthetics, Tetsuya Nakashima has his own stylized audio-visual-from the gorgeous and grotesque cruel fairy tales of pine nuts to the exaggerated and bold gray stories of confession. Maybe carrots and vegetables, each with his own love, can't be forced. But the music of radiohead and boris is dark, obscure, restrained, quiet and explosive, which is not only unobtrusive in the film, but also just right in keeping with the mood and grasping the rhythm. If you look at a work with hostility from the beginning, it will often distort everything.

Naive and boring-I think either the film critics have memorized all kinds of story patterns, or I am too naive to think that the plot change of Confessions is quite dramatic. From the initial farce to an oral story, the clean end, and then to the changes of teenagers A and B, the growth deformity, the lack of communication, the clues that the female monitor promoted the plot, and finally the premeditated revenge of the teacher surfaced step by step. One wrong step, one wrong step. Everyone has their own reasons, standing on their own interests and fighting for their rights-exaggeration to say that this is simply the charm of Rashomon.

"Hypocrisy, narcissism, stupidity and boredom, I don't mean the inner role and relationship, but everything the director has done in this film, even the most basic storytelling ability (the use of film language) can be ignored. Continuous music (but not the use of soundtrack and sound) and composition (not images, just pale images) have produced an extremely stupid revenge story."

The ability to tell stories is not necessarily just a straight line. As the last paragraph said, this is a complete and tortuous story, and this friend also acquiesced in roles and relationships. Since the story is clear, how can you say that you have no ability to tell stories? As for the application of film language, there are also voices and images that criticize others. Isn't voice and image the film language?

Movies are divided into realism and formalism, while Confessions is obviously biased towards the latter. There are few noisy ambient sounds and a lot of late dubbing and emotional music, showing a formal phonetic style with symbols, full of tension and density.

Several parallel montages in the film cooperate with monologue narration, resulting in the illusion of non-existent dialogue, which reflects the loneliness and communication weakness of the characters. This is not a director without feelings and thoughts. Why can't it be called image?

200 1 A Space Odyssey is also an illogical story-telling, large-scale music and stylized image. It can be a classic of science fiction movies or a metaphor about technology and the future. Why can't confession be regarded as a metaphor for life and morality?

Admittedly, this film is not perfect. In front of many film critics who read films like clouds, my knowledge is even shallower. But I don't think this is a movie that should be badly rated by one or two stars. Nowadays, the rating of movies tends to be extreme, and those who don't like it are directly one star. This is also a personal matter and beyond reproach. However, there should still be a rational attitude of thinking twice before acting. After all, other people's voices may help to find their own blind spots.

I recommend Tetsuya Nakashima's Confessions and his previous work, The Life of Disliked Pine Nuts.

"Is life really important?"

-Tetsuya Nakashima has replied in Pine Nuts: "I was born a man, I'm sorry." After being sorry, how we treat ourselves will always be a choice that we can't choose. Just like "I'm back" and "Welcome back" at the end of Pine Nut, the last "confession" seems to be just a joke. Life and death, in this way, stand on the same side in opposition.