OS: Ask for a recommendation ticket, ask for a monthly pass!

At the beginning of the prologue of the film, Wu Xiaozu built a picture world with beautiful pictures and sad colors.

The horizontal axis long shot amazed the entire theater.

The atmosphere and rhythm are created like a book slowly opening.

In this film, he broke through his own stylized narrative mode and used a more delicate, subtle, and aesthetic lens language to tell this beautiful and melancholy, tranquil and noisy, disappointed and hopeful story.

He tries to touch the delicacy and emotion of individuals with images, so as to extend his thinking about the fate in the film.

The character of Ishigami himself is constantly looking for a lost spiritual support in his heart.

Therefore, under the camera, he will have a faint lens alienation, making the audience feel as if this person is a close person close at hand, but if you really touch it, you will find that the other party is thousands of miles away, walking in your own world.

In this way, the audience can calm down and look at this relationship and this story objectively.

This time.

He really hopes to make something sad, beautiful, warm and hopeful.

Therefore, the light and shadow of this film are intertwined with warm and cold tones. Zou Lin and Yu Jiaamine spent more than a dozen dramas with their thoughts and efforts on this play.

Pan Yusheng and Ao Zhijun, the two gold medal videographers, were even more tormented, sleeping less than 5 hours a day during filming. Otherwise, do you think that under the premise that actors such as Zhang Guolu and Mui Yanfang are all paid to act, where did the 3.5 million filming investment be spent?

Goethe expressed a theory in "The Theory of Color": yellow and blue are the two basic color qualities, which constitute the two poles on the color axis.

In his previous life, Kieślowski filmed a "Blue of the Blue-White-Red Trilogy" in 1993, and the use and tone of the blue in the film are absolutely textbook-level.

In this life, Wu Xiaozu took the lead in experimenting with the expression of characters and the rendering of films in a bold blue tone 6 years in advance, which may not be as pure and paranoid as Kieślowski, but it must be a color teaching for Chinese films, and even for world films, it is a refreshing innovation in cognition.

The next color teaching in the film industry may need to wait until Lao Mouzi is born... In terms of the aesthetic concept and application of color, Lao Mouzi is definitely a world-class master and has influenced the film industry.

The color tone at the beginning of "The Suspect" is blue, sad, cold, pure, empty, and rational. Hope and warmth will only be revealed in a few warm colors set off by a lot of cold gray. For example, at the beginning of the prologue, the little girl's yellow schoolbag and Ah Jing's red bicycle.

This is Wu Xiaozu's interpretation of fate in light and shadow.

This sad blue color really precipitated the audience's impetuous thoughts.

Under the sports lens, shuttle through the stone road of the Kowloon Walled City.

Shi Shen stood downstairs with his bag in the compound tube building, which was a large staircase with an outer arc. Under the stairs, there are all kinds of miscellaneous items piled up.

The camera follows the person slowly up the stairs, the corridor in front of the single-row house, the cramped corridor is very congested, and there is dirty water hidden in the potholed corridor. Pots and pans, clothes poles, etc. are placed randomly and disorderly, which is very damp and cold.

Ishigami walked quietly and silently.

"Crunch—"

A clean door that staggered by suddenly opened, and Ah Jing, played by Anita Mui, walked out with a pot of small wildflowers. Inside her door hangs a one-person-tall simple fitting mirror.

"Teacher Shi. Ah Jing smiled politely.

Shi Shen took two steps back, nodded slightly hastily. In the medium shot, the two are blocked by a mess of goods.

The cold scattered light of the night creates isolation and anxiety. The lens turns to the mirror hanging on the inner wall of the door, the light source comes from the dim light in the corridor, and the reflection of the water traces in the pits and pits on the ground forms a blue-gray scattered light, which is coldly presented in the mirror, and the use of this mirror makes the distant aisle echo the darkness above, and the contrast between light and dark in the whole picture is particularly strong.

Ishigami stood in the hallway, turning his back to screw the key to open the door, very slowly. The scattered light forms a contour on him, giving him a silhouette effect. A lonely, bleak, and gloomy atmosphere immediately appeared, as if he would be engulfed in gray-blue darkness at any moment.

The lens zooms and the depth of field begins to blur.

"Smack-"

Under Ishigami's subjective lens, the other party's door closes slowly, and the angle of the mirror's reflection of light and shadow changes.

The light source in the mirror image changes on the screen, and the warm light in the other room's room reflects from the mirror into a beam of light that hits Ishigami's face.

But!

As the door closed, the warmth vanished in an instant.

The mirror disappears, the depth-of-field focus shifts directly to the foreground, and the background blurs.

Close-up of the camera focused on the keyhole.

He didn't have the keys in his hand at all.

Entering the room, the audience is greeted by walls full of books and blackboards full of formulas.

The blue and dark make the space extraordinarily small, and the small table lamp gathers all the attention of the audience.

Ishigami sat at his desk, with a small ordinary mirror in front of him, and in the mirror lens was a standing floor-standing wall clock behind him.

Mirrors are a common intention in many, in the eyes of the famous poet and writer Borges: the mirror is the whole metaphor of the nature of this world.

Therefore, in these two sections of the film, Wu Xiaozu used mirrors.

As for the pendulum.

The gears in the swinging wall clock slowly rotate and sway from side to side, which actually symbolizes the repetitive and useless life of the stone god, and detains the self-shaping and appearance of the characters in the film.

In this "Suspect", Wu Xiaozu uses more details to give the film a reflection on the relationship between human beings and modern urban society.

The bell rings in my ears.

There was a hint of nostalgia in Ishigami's eyes—the texture of the picture slowly warmed and turned red.

Cold and warm are constantly intertwined in the influence of the film, guiding the viewer to constantly feel the contradictions of this film.

The narrative crosses montage, and the expression is naturally memories.

Close-up.

A steel compass sliced slowly, gently, slowly, silently through the wrist. The camera was pulled up and shot down from top to bottom, but the man's face was not photographed.

He is a genius, but he is not a genius of this world. He is a defender, but he does not see the appearance of heaven.

In his mind, heaven is probably what a library looks like, right?

The wrist was cut, which also made the audience understand the centipede scar at the beginning of the film.

Ding dong!

The doorbell broke the death prelude of Ishigami, as if the warmth of blood in the darkness brought the warmth of life.

"Hello, is anyone home?"

The knock on the door and the gentle greeting made him suddenly drop a stone in his unchanging life.

Lens panorama.

In the cramped and dimly lit space, Ishigami, who had his back to the camera, slowly stood up.

Open the door.

The sunlight filled the room, and the subjective eyeglasses first blinked, and then saw Mei Yanfang with a warm smile in front of him and a cute little Lori with a double ponytail, holding a pot of small wildflowers, standing at the door

"Hello, I'm a new neighbor. Didn't bother you, did you? The child may practice playing the flute every day, I hope you don't get off-"

Ah Jing, played by Anita Mui, has crooked eyes and a smile with tiredness.

"It doesn't matter. ”

The dialogue between the two has always been a subjective lens of Ishigami.

"Uncle, this pot of flowers is for you. ”

Xiaomei, played by Zhang Baiju, held a pot of small flowers and handed it to the stone god who was holding his wrist.

Drops –

The camera is downgraded, a close-up in slow motion, a drop of blood slowly falls to the ground, and two smiling faces are reflected in the blood beads.

Pop, blood splattered everywhere, like the shape of a flower.

It's like......

It's like a little wildflower swaying in the wind in a little girl's hand.

Suddenly—

The fresh, clear sound of the flute brings the picture back to life in an instant.

The tone of the flute in the instrument's character is actually a cold tone.

In the filming of the movie, Wu Xiaozu grasped every little detail very strictly. Even to the point of extravagance and waste.

Wu Xiaozu really deliberately let Zhang Baiju learn to play the flute, and even the pipes used for the flute are high-end, 70,000 or 80,000 Hong Kong dollars for a pipe!

Anyway, the money is not spent in vain. In the end, the flute Wu Xiaozu also gave Zhang Baizhi as a gift. Look at it, Director Wu's clever ghost is not very chicken!('へ ́*)ノ!!

The sound quality of the flute is beautiful and pleasant, and the treble is lively and bright.

Accompanied by the flute, Li Ming's adaptation of "Street Lamp" flows slowly. The texture of the film has intoxicated many people.

Of course, there will be people who don't like it.

There is no such thing as taste.

There is no movie that everyone can like and be satisfied with, and Wu Xiaozu did not deliberately do so much business in the filming of this drama. The storytelling is enough to compensate for the artistic sense of light and shadow that has been impacted.

This is an experimental film in which Wu Hsiao-jo seeks a balance between art and commerce.

Art is definitely one of the most expensive things in the world.

However, since you are a filmmaker, you always have to leave something behind and try something new. It is true that you can shoot commercial movies to earn box office, the same as celebrity film history, but the box office list is the most ruthless bitch, and many people may not care about your tens of millions of box office after a few decades, but the award is there, it is very compelling!

Do you think the king of sunglasses is higher than those directors who are higher than him at the box office in the same period?

The old-fashioned floor-to-ceiling wall clock reappears in the picture, and the clock also hints at the owner's logic and stereotyped and accurate view of time, paving the way for the future.

In a small room, a standing floor clock gently sways the pendulum.

In this film, Wu Xiaozu is fond of capturing fragments of time in a small and enclosed space.

As the assistant director of "Suspect", although Wang Jiawei learned many hardcore poses of film shooting behind Wu Xiaozu, he also gave Wu Xiaozu a lot of wonderful ideas.

If you look at the movie sequences of Wang Jiawei in later generations, it is not difficult to find that there is a habitual rupture and drift between his memory and time. Time and memory are indispensable elements in his films.

In this film, Wu Xiaozu concretizes time and uses clocks to convey this temporality. Such a sense of time, combined with the environment, in this nightmare city, creates an imbalance between the spatial relationship of the real environment and the crowded survival buildings, which will make the stone god in the play more real, but it will also cast a shadow on his fate, giving the audience a hint for the next choice.

Wang Jiawei's stagnation of the documentary "Kowloon Walled City: City of God" is actually a decision made after learning this lens expressionism from Wu Xiaozu, and he resolutely put down the shooting and studied Wu Xiaozu's expression method with his heart.

In this regard, he can be regarded as Wu Xiaozu's apprentice!

Liu Weiqiao, Qiu Litao, Fei Cheng, Luo Liyuan, Wang Jiawei, Ye Weixin, everyone who follows Wu Xiaozu will more or less gain their own understanding. Wu Xiaozu also hopes to make them grow quickly in this way!

"Good morning, uncle. ”

Zhang Baizhi carried a flute, carried a schoolbag, and presented a cute smile.

Shi Shen half-squinted his eyes, nodded slightly like an old dog, and slowly walked downstairs with a briefcase.

Walk downstairs and into the walled city.

The picture that had just been quiet came alive in an instant.

The noisy voices of the hawkers and neighbors began to resound, and the dirty Kowloon Walled City was very lively.

Suddenly.

Ishigami walked along a congested and chaotic road, lined with dog meat shop guys who killed dogs and chopped meat, and dead dogs hanging from iron hooks one by one.

Black, white, yellow, and spotted countless dogs were locked in cages, all screaming and struggling, except for a few Shiba dogs, with drooping eyes, sitting in front of the shops - they didn't have to die, but they didn't have the dignity to keep their dead fellow alive and help the butcher take care of the house.

The camera shifts with the movement of Ishigami.

The blue plastic simple shed, short can only reach the waist of a person, and some people struggle to get out of the shelter, but their faces are numb, their expressions are lazy, and they can't see the slightest hope.

Some people are facing the sky, some are sleeping in their clothes, and some people are looking coldly at the cold sea water opposite.

The stone god bowed his body and walked silently.

"They are like useless cogs in the clock, repeating meaningless lives every day. ”

Ishigami's inner monologue, talking about these homeless people, is actually a metaphor for himself.

The shed is located under the overpass, so it's all shaded.

When he stepped out of the shadows, he was greeted by a tea restaurant with a yellow sign.

Longcheng Ice House, the royal tea restaurant, left the country again.

When Wu Xiaozu uses it here, he will also pay for the use of the venue. There is money to be made, and it can promote the store, and there is no reason to cheapen others.

At this time, the Dragon City Ice House is a well-known tea restaurant.

Many boys and girls like to drink a cup of milk tea recommended by Roy Kin and Zhou Huimin.

It's a celebrity Internet celebrity store in the 80s.

Ishigami enters the store as he enters the store, and suddenly a yellow leaf slowly falls in front of a pair of leather shoes.

Then slowly shook up, Li Zhaoji squinted his eyes, and saw Ah Jing played by Anita Mui who ordered food through the glass. He plays the ex-husband of Anita Mui in this play.

The figure shades out the sunlight, and the picture also shows a subtle change. The camera is shot through a prototype corner mirror in the corner. The corner lens exaggerates and distorts the picture, and the effect is equivalent to that of a wide-angle lens.

"A meal, packed. Ah Jing nodded at the stone god.

Ishigami slowly walked out of the door with his breakfast.

"Is this food good?" Li Zhaoji asked with a smile as he stood in front of Shi Shen.

Ishigami nodded slightly, turned sideways, and walked away with his briefcase and breakfast.