Stunning modern Chinese movie shot on film.
The compositional techniques used, however, are slightly mediocre, but flawed, employing many Structural film techniques to shoot the subject in a doorframe, a window.
The most amazing thing about the film is the Freudian fantasy entanglement of Mazzei. This fantasy segment in the movie theater to the climax, but the meaning is unclear there are some traces of deliberate to create a high level, but also to many filmmakers make mistakes, such as Hitchcock, Nolan deliberately in the film to add some psychoanalytic elements to let the critics to pay attention to it, but such a tactic in the lack of the content of the connection will be clumsy. This makes the film feel more like a dance in shackles, especially in the first half, which is quite a running commentary on the style of modern Chinese cinema. But you can see the director's determination to get away from this vulgar definition as well, but it's in the wrong direction.
An even bigger flaw is the portrayal of women in the film, as it seems that the female characters have all become one-sided images, even Xu Liang, a psychopathic fantasy female figure, has become part of the film.
But the compositional character depth is quite shocking and impressive for today. This is especially true of the movie theater sequence where the audience applauds and the political satire is brought to a climax by the drama on stage. The only drawback is that the psychoanalytic content is slightly out of tune with the overall tone of the film, which feels contrived.
The compositional techniques used, however, are slightly mediocre, but flawed, employing many Structural film techniques to shoot the subject in a doorframe, a window.
The most amazing thing about the film is the Freudian fantasy entanglement of Mazzei. This fantasy segment in the movie theater to the climax, but the meaning is unclear there are some traces of deliberate to create a high level, but also to many filmmakers make mistakes, such as Hitchcock, Nolan deliberately in the film to add some psychoanalytic elements to let the critics to pay attention to it, but such a tactic in the lack of the content of the connection will be clumsy. This makes the film feel more like a dance in shackles, especially in the first half, which is quite a running commentary on the style of modern Chinese cinema. But you can see the director's determination to get away from this vulgar definition as well, but it's in the wrong direction.
An even bigger flaw is the portrayal of women in the film, as it seems that the female characters have all become one-sided images, even Xu Liang, a psychopathic fantasy female figure, has become part of the film.
But the compositional character depth is quite shocking and impressive for today. This is especially true of the movie theater sequence where the audience applauds and the political satire is brought to a climax by the drama on stage. The only drawback is that the psychoanalytic content is slightly out of tune with the overall tone of the film, which feels contrived.