Disaster Artist

In the center of the all-black screen is a circle, like a fish-eye. Looking at a strange world, it takes a moment to realize that it is an upside-down world. The sky is down, the mountains are upside down, and the ground is up.

Then, the picture slowly rotates and zooms in slowly, and the audience follows the lens to get closer to the fisheye. After completing the 360-degree rotation, they enter a world that "stands upright" again, and the scene returns to normal. Until this is the real camera lens, they were just quietly spying another world through the camera lens——

Especially when a family of four appeared in the picture, the photographer took the initiative to solicit guests and invited them to take pictures. The husband refused, the wife did not pay attention at all, and the children were attracted as if they saw the candied fruit. The whole process was like this one by one. presented to the audience.

Like a documentary.

The absent-mindedness of the husband, the tilted center of gravity of the wife, the quiet and well-behaved daughter, the eccentricity of the son, the family of four seems to be happy but inadvertently reveals the deliberate and rigid behind the meticulously presented perfection of the middle class, and a faint undercurrent surging. It is even more depressing in the silver wrapping that fills the sky.

As a result, the presentation method from the fisheye to the lens to the whole process of recording vaguely breeds a "sense of peeping", as if they are peeping at their private life through the fisheye of the security door or the monitor screen, which is a sense of guilt. There is a sense of inability to stop.

In just a few minutes, there was no plot and no story, just showing a scene, but the commotion in the Lumi Cinema was completely calmed down, and the audience's attention was drawn into the big screen.

It has to be said that the expressiveness and immersion of Lu Qian's lens is really excellent, and through such a "voyeur effect", it consciously blurs the boundary between reality and illusion, deliberately creating a kind of "we are not watching a movie but peeping." Other people's lives", "they are not movie characters but a real family of four in real life", subtly break the fourth wall, and then "inhale" the audience into it.

The disturbing thoughts in Gong Yushan's mind had settled down before she knew it.

The movie begins.

A series of calm and eloquent shots have always recorded a few brief daily life fragments from a voyeur's perspective:

Ma Wen, even on vacation, is absent-minded. He seems to be inseparable from his mobile phone. He follows his son to the bathroom. As a result, after his son comes out, he still needs to find his mother to solve the problem. The daughter is obviously always looking for his mother's position, so that Ma Wen's footsteps are always is not far away.

Tao Li, her attention is always on the children, especially after the photos of the top of the mountain are taken out, her eyes always stay on the smiling faces of the two children. She tries to get her son and Ma Wen closer, but the mischievous son always makes Ma Wen close. Appearing impatient, she had to pick up the slack behind.

The most special shot is a family of four skiing on the vast snow field. Two dark blue and two goose yellow figures stand out easily.

A dark blue figure leads the slide in front, two goose-yellow figures move forward slowly and not far behind, and another small dark blue figure wanders between the two tracks, and then slowly, Slowly approaching the goose-yellow figure.

They left their ski trails on top of the white snow, from intertwined and intertwined to gradually becoming two parallel lines, so silky and continuous.

The camera, flying lightly following the figures of a family of four, seems to keep an objective attitude of watching, but quietly cuts into the family relationship to see the relationship between members, no language is needed at all, the audience has already Able to interpret according to their own understanding.

Then, looking through the window of a family of four living in the resort room, you can see the quiet snow-capped mountains and the emerald lake surrounded by forests and mountains.

Sudden.

A burst of rapid violin strings vented like a waterfall. The turbulent and turbulent classical music instantly created incredible tension and broke the calm, forming a strong contrast with the stillness of the picture to the point of physical discomfort, and ruthlessly pressed the audience to their seats. , the brain fell into a brief blank—

Is that... the "Summer" in the classic "Four Seasons" handed down by Vivaldi?

A very bold and very special choice of soundtrack, the hot and rainy summer is used to dispel the bitter ice in winter, and the hearing and vision form a dislocation. The blood under the skin began to boil.

Wonderful, wonderful.

What exactly are veteran movie fans talking about when they discuss "movie sense"?

In fact, it's not that complicated, and it doesn't need professional vocabulary. In short, it is to fully mobilize the elements of the film to create a feast of visual and auditory interweaving, those colors, those movements, those virtual and real, those sounds, etc., and so on, the feeling from the physical level It extends to a spiritual level of feeling.

That's the cinematic feel.

Movies shouldn't just tell stories, because drama and it can do a very good job in this matter, and movies need to use their own image and sound advantages to blend a deeper and more beautiful experience - even if it is a commercial movie not excluded.

Just like this moment.

Lu Qian's footage is like a voyeur. When people are peeping, they often hold their breath to avoid exposing themselves. The same is true for the audience in the Lumi Film Palace; but Lu Qian's soundtrack, thundering on the ground, abruptly breaks the calm, and then The audience was startled as if their voyeuristic actions were discovered. When they waited to realize that they were watching a movie, their surging emotions could not be calmed down——

Then, silently immersed in the movie, everyone can feel the seemingly peaceful but turbulent relationship between Ma Wen and Tao Li.

And all of this, there is no explanation or statement of any lines at all, and even there is not much dialogue, but it can still be accurately conveyed through the screen.

This is the cinematic feel.

Putong, putong~www.novelmt.com~ The sound of the heart beating became steady and powerful, there was an urge to break free, and then everyone realized that something was about to happen, that kind of tension that was about to come. The bowstring has been drawn--

boom.

Sure enough, it happened.

A family of four dined on the balcony of the open-air restaurant. Artificial snow blasting was underway on the mountain not far away, trying to clear a clean and smooth snow track, but everything was within the calculation and control range, and all the tourists heard the blasting. At the same time, I saw the snow waves rolling in, and one by two took out their mobile phones to take pictures and record videos.

Tao Li was a little worried and subconsciously protected the child.

But Ma Wen told Tao Li that she should believe in "professionalism", so she also took out her mobile phone to shoot.

However……

Slowly, slowly, something seemed not quite right. Seeing that the snow waves were getting closer and bigger, an avalanche had formed in the blink of an eye, rushing towards the face, and the entire balcony instantly became a **** on earth, screaming. Intertwined with the roar, it was completely swallowed by the rolling sound of the avalanche.