Life around them may change, bu the passing of generations reveals that life moves in cycles, remains true to common themes. The move from standard to widescreen is interesting--it not only conjures specific eras, but also seems to show a move from interpersonal relations to landscape and the focus on the self, perhaps: what people say and how they act vs. how things look...just the beginnings of a thought, though.
I wish that we could talk about it. But there, that's the problem. With someone new I couldn't start it. Too late for beginning. The little things that made me nervous are gone in a moment. But nothing can prepare you for it, the voice on the other end. And it keeps coming, and it keeps coming, and it keeps coming til the day it stops.
The existential day after The Shop Around The Corner. What is the true price of the present if the future is so uncertain? A woman's personal life is traded for currency her relationships gradually internalize the existential crises of the 21st century stuck between losing the past & losing the future later revealing to us the slow conditioning of advanced capitalism's global takeover with a stand in oedipal mother.
tbh i wish there'd been more character dev w/ tao....i think her rainbow sweater changes more than she does (someone did a photoset tracing the evolution of that sweater! it ends up as a scarf 4 her dog) & part 3 was tacky (i feel like any portrayal of futuristic stuff ends up tacky..) & i didnt like how daole's teacher took advantage of his starvation for maternal love..but a good movie to watch if ur a diaspora kid
Listen, mountains can be fickle, OK? Some of them come out of the sky and they stand there, but others, no sooner do they arrive before they sod off to shack up with some other landmass. But if you think that's bad, try having a relationship with a country, or a language, or even, God help you, a human being. The watercourse way looks better every day. Still, Jia's film, while pretty, is a bit dim and distended.
It is unfortunate that the third act of Zhangke's gentle, beautiful piece does not very quite match the same heights as the wonderful first two. (The first's 4:3 aspect ratio and visual flexibility add even more to its quality) But I did spend about twenty minutes weeping and shaking in my seat so hey, I'm destroyed. Harsh, sensible film. Tao Zhao is amazing. It's about time, understand?
The beauty of the characters' framings in the urban and industrial landscapes of China (something that Zhangke has already done superlatively), is determined by an expositional story of loving losses that loses a lot with the third part, of a trivial dramaticity and formality (despite the screen's enlargement and an idea of memory as a remaining echo). This way, the possibilities of a bigger melo+drama are reduced.
film di una tristezza memorabile sulla perdita continua e inesorabile di tutto. Un opera strabordante, illuminata da un clamoroso digitale mai così spinto fin oltre il limite della deformazione. Del ricordo e dell'amore non resta che un sussurro al quale aggrapparsi disperatamente.