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Warm light and warm room.

The moonlight spilled through the glass and fell on the small wildflowers by the window, and the halo made the wildflowers a little inexplicable... Red and glamorous!

The moonlight is cold, and the flowers are warm.

The overflowing light drowns out the flowers, which seems to hint at the impending changes in the characters' worlds.

Under the camera, in the mirror of the fitting mirror hanging on the door, Ah Jing, played by Anita Mui, is wearing a home dress and stir-frying with her back to the camera.

Even though there was no positive expression shooting, the lightness of the demeanor still made the audience feel the relaxation of Ah Jing's mood.

Body conduction is a basic acting skill that an actor needs to master.

In this regard, because of her background as a singer, Anita Mui herself is not experienced enough, and her actions are often exaggerated. Therefore, when filming this stir-fry scene, Director Wu personally went down to demonstrate.

In addition, during the shooting, in order to let Aunt Mei understand as soon as possible.

Director Wu had no choice but to hug Mui Yanfang from behind, and guided him hand-in-hand, from the back, arms, thin waist to buttocks, and finally to the legs, all of which were carefully groped and corrected one by one, so that the audience could feel the mood of the characters on the screen before they met.

It is also because of Wu Xiaozu's serious and tireless correction that this is why Anita Mui successfully portrayed the role of Ruhua when she starred in Guan Jinpeng's "Rouge Buckle" next, and won the Golden Horse Award for actress laurels.

There was a noise outside the door.

Ah Jingwan'er turned her head and smiled at the corner of her mouth, "Xiaomei?"

The needle drop on the screen can be heard, and only then does the camera focus on Ah Jing.

This shot is very interesting.

Ah Jing stood in front of the frying stove, with a dark brown background, which set off Mui Yanfang's emaciated face. The rear window is frosted glass, which faintly reveals the vista and presents a dark background space, and the window frame is very narrow, divided into a "field" shape by wooden strips, and the frame is framed.

Window often represents hope and freedom in cinematic intentions and metaphors, and Wu Xiaozu divides this only source with horizontal and vertical lines. The dark brown background that sets off the characters is also "blocked". The background density under the lens is reduced by half stops, and it immediately appears depressing.

"Is Xiaomei you?"

Under the lens.

A Jing, played by Anita Mui, smiled slightly, showed doubts, and finally showed a touch of doting, but reproached in her mouth, "How many times have I told you that I always forgot to bring the key?"

Hang your apron on a hook next to it, and next to the hook hangs an art frame – Palma Vecchio's "Woman in the Window"!

The painting is actually covered up.

Because of the limitations of the age. The surface pattern of this painting is only to hide the real appearance. According to the results of the restoration, the National Gallery of England hints at the scene of this painting that the identity of the heroine may be a prostitute.

The heroine played by Anita Mui is "The Woman in the Window"!

In this painting, the camera freezes for two or three seconds.

The audience and filmmakers did not react, but Lin Yanni, Yishu, Shi Nansheng, and other strong literary and artistic women who have traveled to the UK discovered this "secret" for the first time.

"Ah Jing used to be a prostitute?" Lin Yanni looked at Shi Nansheng, but her tone was very determined.

"Some time ago, the British National Gallery deduced that "The Woman in the Window" should be a prostitute based on the results of the restoration. Shi Nansheng stared at the screen and said to himself.

Looking at it this way, Ah Jing went to open the door, which seemed to have hinted that her secret was about to be revealed!

There is a wooden frame between the kitchen and the living room, and Mui Yanfang stands in the frame, and behind her is also the frame. Here, Wu Xiaozu uses a composition similar to a color painting-in-picture.

The ground is also a square tile with clear cold and warm floors, and in the close-up shot, her feet are staggered and walking.

Reach for the doorknob – pull a crack in the door.

The dark hallway was empty.

"Small—"

As he spoke, he suddenly held a small pot of wildflowers in one hand and suddenly blocked the crack in the door.

When the audience thought it was really Xiaomei, suddenly a vulgar word came, which instantly made Ah Jing's face change greatly.

"It's not the first time I've entered the door...... ......"

Li Zhaoji suddenly pushed open the door, grinning and holding a pot of small flowers with a mocking expression, "Seeing that this pot of flowers outside your door is good, I will give you a gift - hey, what, your husband is not welcome?"

"What do you want to do? We're divorced! I don't want to see you—" Mei Yanfang stepped back in a panic and anger.

"You don't want to, you don't want to??I said you want to!" Li Zhaoji looked around the room aggressively, and smiled scoundrelly, "The house is good, wife!" Sniffed, "There are still stewed vegetables in the pot? I haven't eaten your cooking for a long time——"

"I ask you to leave! Don't pester me anymore! We're divorced! If you mess around again, I'll call the police!"

"Call the police?"

Li Zhaoji pinched the vegetables in the pot and put them in his mouth and smacked them, full of scoundrel anger, "The bad guy can't care about me looking for his wife and children, right? By the way? What about Xiaomei? She should be pretty, right? Xiaomei-Xiaomei-Xiaomei, where are you? Dad is here......" Stretching his neck, scurrying around the house, he casually opened Ah Jing's bag, took out the money in his wallet, threw the wallet aside, and continued to rummage,

"All my money is here, please leave-" Watching the other party turn over his money, Mei Yanfang stepped back, looked at her body and yelled at Li Zhaoji in a low voice, "Don't affect my life, we have nothing to do with each other!"

"Mom, I'm back. ”

Zhang Baijue, who was wearing a sailor's school uniform with a double ponytail, walked into the house with a schoolbag on his back.

"Yo, Xiaomei is back, come, dad hug-" Li Zhaoji's disgusting face greeted, "Now children can be friends at the age of twelve or thirteen, and Xiaomei can be friends in two years......"

"Xiaomei, you come into the house!"

Mei Yanfang is like a hen blocking Xiaomei behind her. Xiaomei was like a panicked chicken at the moment, and hurriedly fled into the bedroom. Li Zhaoji scooped it up and dragged Xiaomei's yellow schoolbag down.

"You're not going to let me, a father, look at my daughter, it's inappropriate, right?"

"Get out of here!"

"Hehe, it's okay if my daughter is gone, it's just convenient for the two of us to make out!" Li Zhaoji held his schoolbag in his hand and threw himself towards Mei Yanfang with a lewd smile!

"You let go of me!" Mei Yanfang struggled indiscriminately and punched the other party at once.

"Stinky Sanba, don't be embarrassed-"

The two of them tore up, and when the schoolbag was shaken, they smashed the yellow light above their heads at once, leaving only another incandescent lamp.

As soon as the camera turns, the sound and picture montage.

Ishigami sat in the room, clutching the compass drawing he had used to cut his wrists.

He suddenly looked up at the wall clock, this time, should be practicing the flute, right?

Eccentric over the ear.

The body does not move.

The camera caught Ah Jing and Li Zhaoji again. Li Zhaoji, the ex-husband, smiled lewdly and wanted to forcibly commit violence, but in the chaos, Ah Jing was directly smashed on the mirror of the door by the other party, and the mirror was broken!

In the midst of the two tearing, Ah Jing was pressed under the other party.

"Bang!"

Xiaomei held a small trophy and smashed it on Li Zhaoji's head.

"Little bitch!!You're looking for death!!"

Suddenly, the voice rang out again, and Li Zhaoji viciously pounced towards Xiaomei, "I'll kill you little bastard today!"

In the movie, the two girls are constantly struggling with Li Zhaoji to impress.

"Bang!"

Xiaomei hung tears and kept waving the flower pot in her hand...... A pot with small wildflowers.

Suddenly, all the tense music of the film stops, and the sound disappears.

On the screen, Li Zhaoji, the "ex-husband Brother Ji", who was still violent and rude just now, was wrapped with wires around his neck, his eyes were round, and his head was bleeding and he fell into the fragments of flower pots scattered all over the place.

Flower pot debris, damp dirt, dark red pools of blood, the camera shows a corpse and two mothers and daughters slowly rotating around them.

The little wildflowers are broken.

Wish?

Is it still there?

In the play, Xiao Yehua is the same as Xiaomei played by Zhang Baiju, both of which are rare warmth in the cold-toned film.

Ah Jing hugged Xiaomei tightly in her arms, her face pale.

In the close-up shot, the joints of the fingers are tight.

Some viewers couldn't help but stand up and look at the murderer and victim in the movie in amazement.

"What to do?" was the sentiment of many viewers.

Ding Dong - The rotating camera suddenly freezes on the door.

The rotation of the camera represents the panic of Ah Jing and Xiaomei, and finally freezes on the door, which also indicates that the solution appears outside the door!

This is a kind of visual psychological cue.

"Who?" Mui Yanfang endured her fear, pretending to be stable.

"I'm the stone god next door, and I hear a little voice from your side...... Need help?"

"No! thank you!" Mui replied hurriedly.

There was silence outside the door.

"Woo woo woo..."Xiaomei cried in fear with convulsions, and Mei Yanfang used all her strength to hold her in her arms.

"I think I can help you, and I hope you can open the door. Otherwise, it will be difficult for you to handle today's affairs and that gentleman - trust me. The voice of the stone god outside the door was calm.

The mirrors on the floor that were broken into pieces reflected the light, forming spots of light that hit Ah Jing, Xiaomei, and the entire room. This diffuse light source creates a spatial slice in the entire room.

At this moment, the light of the incandescent lamps in the room is blue, and it is full of monotonous coldness.

The door opens.

Shi Shen nodded slightly with a calm expression, and the moving light source outside the house may be the yellow headlights of a car, or it may be the headlights, hitting his body, the dim aperture of light looks very warm.

At this moment, cold and warm alternate.

He became the hope of Ah Jing and Xiaomei, and he became the only warm color in the picture. The interweaving of cold and warm colors is a hint of the characters and the story.

The lens uses a bipolar lens here to exclude normal viewing angles and standard focal lengths, giving the picture an artistic interpretation. It uses two extremes: close-up and long-term vision.

In the treatment of poetic realism, Wu Xiaozu uses a lot of metaphors and allusions. The composition here is full of a sense of intertwining opposites. This not only completes the perfect application of the modeling language, but also highlights the tension of the image language.

If the audience only sees evil and coldness, then it will make people too desperate. He needs to let the audience see and understand the world he has created more objectively.

Again, the warmth is more warm against the backdrop of a lot of cold blue-gray.

Under the cloak of reason, there is sensibility!

With the camera moving from both ends, the camera enters the living room from outside the door, and then from the inside of the house to the outside.

The story continues, but the audience at the scene feels an atmosphere brewing that is different from other films.

Until—the police received a report and found a dead body by the river!