this film possesses a cinematic inventiveness that is rare in cinema, something that's in many of jean-luc godard's films. as is customary in many "art-house" films, the lower production values shift the onus onto characterization and visual technique. this film has characters that are compelling for different reasons: some are very interior, others exterior; but all of them show a certain decisiveness in their actions. this is paired with a similarly decisive visual style, where action is shown first, up-close, then the frame zooms out to show its context. the physicality of the frame is emphasized most. this type of cinema is effective because the style becomes compelling in itself, with the narrative existing secondarily, but not fully subserviently. the setting, wong's hong kong, is also a contributor to the film's effectiveness, making us mournful of the analogness of the 90s.
No comments:
Post a Comment