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

The horizontal long lens stuns the entire theater.

The creation of atmosphere and rhythm is like a book slowly opening up.

In this movie, he breaks through his own stylized narrative method and uses more delicate, implicit and beautiful lens language to tell this beautiful, melancholy, quiet, noisy, disappointed and hopeful story.

He tried to use images to touch the individual's delicacy and emotions, thereby extending his thoughts on fate in the film.

The character Shi Shen himself is constantly looking for spiritual support for his heart to lose.

Therefore, under the camera, there will be a faint camera alienation, which makes the audience feel that this person is like a person close to you, but when you really touch it, you will find that the other person is thousands of miles apart and walking in his 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 film something sad and beautiful, warm and hopeful.

Therefore, the light and shadow of this movie are intertwined with warm and cold colors. The effort and effort spent by Zou Lin and Yu Jiamin on this drama is enough for them to work over a dozen dramas.

Pan Hengsheng and Ao Zhijun were even more distressed. During the filming period, they had less than 5 hours of sleep a day. Otherwise, where would you think that under the premise that actors such as Zhang Guoyan and Mei Yanfang were all zero-paying for acting, the 3.5 million yuan investment in filming was spent? It was all spent on Wu Xiaozu's experiment!

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

In his previous life, Kieslowsky filmed a film called "Blue, White and Red Trilogy" in 1993. The use and arguments of blue in the film are definitely at the textbook level.

In this life, Wu Xiaozu took the lead in trying the expression and rendering of characters with bold blue arguments six years in advance. Perhaps it is not as pure and paranoid as Kieslowsky, but it must be a color teaching of Chinese films, and even a refreshing innovation for world films.

The next color teaching in the film industry may have to wait until Lao Touzi comes out of nowhere... In terms of the aesthetic concept and application of color, Lao Touzi is definitely a world-class master and influences the film industry.

The color tone of "Suspect" is blue, sadness, coolness, purity, emptiness, rationality. Hope and warmth will only be displayed in a few warm colors set off by a large number of cold grays. For example, at the beginning of the prologue, the little girl's yellow schoolbag and Ajing's red bicycle.

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

This sad blue color has indeed settled the audience's impetuous thoughts.

Under the sports footage, we shuttled through the stone roads of Kowloon City.

Shi Shen stood down the stairs with his bag, a large staircase with an outer arc. Under the staircase, all kinds of debris were piled up in chaos.

The camera followed the person slowly up the stairs. The corridor in front of the single row of houses seemed very congested in the cramped corridors, and there were dirty water hidden in the bumpy aisles. Pots, pans, clothes rails, etc. were placed randomly at random, which was very cold and humid.

The stone god seemed to walk by quietly and quietly.

"Cruff-"

A clean room door that passed by suddenly opened, and Ajing, played by Yanfang Mei, walked out with a pot of small wild flowers. There was a simple fitting mirror hanging from her door.

"Teacher Shi." Ajing smiled politely.

Shi Shen took two steps back and nodded slightly hastily. In the mid-scene shot, the two were blocked by messy goods.

The cool night scattered light 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. It reflects the water traces in the potholes on the ground, forming a blue-gray scattered light, which is coldly presented in the mirror. The use of this mirror echoes the distant aisle with the darkness above, which makes the light and dark contrast of the entire picture particularly strong.

The stone god stood in the corridor, turned his back and twisted the key to open the door, moving very slowly. The scattered light formed a contour on him, presenting a silhouette effect. The lonely, cold and gloomy atmosphere immediately appeared, as if he would be swallowed up by the gray-blue darkness at any time.

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

"Ba"

Under the subjective lens of Shi Shen, the other party's door is closed slowly [Biquge www.boquge.xyz], and the angle of the reflecting light and shadow of the mirror changes.

The light source in the mirror changes on the picture, and the warm light in the other party's house reflects from the mirror into a beam of light hitting Shi Shen's face.

but!

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

The mirror disappears, the depth of field focus is directly changed to the foreground, and the background becomes blurred.

Close-up of the lens is aimed at the keyhole.

He didn't have the key in his hand.

When you enter the room, the audience is attracted by books full of walls and blackboards full of formulas.

The blue and darkness make the space particularly small, and the small desk lamps gather all the attention of the audience.

Shi Shen sat in front of the desk, with an ordinary small mirror in front of him, and inside the mirror lens was a vertical floor-standing wall clock behind him.

Mirror is a common intention in many novels. In the eyes of the famous poet and writer Borges: Mirror is the entire metaphor of the nature of this world.

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

As for the pendulum.

The gears in the swaying wall clock slowly rotate and sway left and right, which actually symbolizes the repetitive and useless life of the Stone God, and captures the self-shaping and appearance of the characters in the film.

In this "Suspect", Wu Xiaozu used more details to give the film a thought on the relationship between humans and modern urban society.

The bell rings in my ears.

A trace of thought appeared in Shi Shen's eyes - the texture of the picture gradually warmed and turned red.

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

In a narrative cross-montage, it is naturally expressed as memories.

Close-up.

A steel compass slowly, gently, slowly, quietly cut his wrist. The camera was pulled up and shot from top to bottom, but the man's face was not captured.

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

In his heart, heaven is probably the way a library is?

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

Dingdong!

The doorbell broke the prelude to the death of the Stone God, as if the temperature of blood in the dark brought the warmth of life.

"Hello, is anyone at home?"

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

Panoramic view of the lens.

In the cramped and dim space, Shi Shen, who faced the camera, slowly stood up.

Open the door.

The sun shines in the room, subjective human lenses, first blinked, then saw Yanfang Mei with a warm smile and a cute little loli with a cute two-pony tail holding a pot of small wild flowers, standing at the door

"Hello, I am a new neighbor. Didn't you disturb you? The child may practice playing the flute every day, I hope you don't mind it-"

Ajing, played by Yanfang Mei, has curved eyes and a smile with fatigue.

"It doesn't matter."

The conversation between the two has always been subjectively shot by the Stone God.

"Uncle, I'll give you this pot of flowers."

Xiaomei, played by Zhang Baizhi, held a pot of small flowers and handed it to Shi Shen who was covering her wrist.

drop--

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

Bang, blood scattered everywhere, like a figure of a flower.

Just like...

It's like a little wild flower swaying in the wind in the little girl's hands.

suddenly--

The fresh and thorough flute sounds bring the picture back to reality in an instant.

The tone of the flute in the instrumental characteristics is actually a cool-toned system.

During the filming of the movie, Wu Xiaozu took every little detail very seriously, even to the point of being extravagant and wasted.

Wu Xiaozu really asked Zhang Baiju to learn how to play the long flute. Even the pipes used for flutes are high-end, with a pipe of 70,000 to 80,000 Hong Kong dollars!

Anyway, the money will not be spent. In the end, Wu Xiaozu gave Zhang Baiju as a gift. Look, is Director Wu a smart guy very smart? (`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 Lights" flows slowly. The texture of the film makes many people intoxicated.

Of course, there are also people who don’t like it.

There is no standard for taste.

No movie can make everyone like or satisfied. Wu Xiaozu did not deliberately do this movie in filming. The story is enough to make up for the artistic sense of light and shadow that is influential.

This is a film that seeks balance between art and business in Wu Xiaozu's experimental nature.

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