good movie

Rating: 8/10 (30 March 2020)

After watching this, I think if only these four movies, this year's Oscar may come between Marriage Story and 1917. "Irish" is good, but not beyond the godfather, many people still have doubts about de-aging film technology. "Inheritance of the Pope" should be based on the male male male match, in the story and film director has not much room for play ;" Marriage Story "is the 21st century Kramer couple, male and female stars and movies to achieve each other, followed by this amazing "1917".
I always think film is a perfect combination of technology and art. As a director, it is obvious that only technology can not, for example, Marvel DC; only art can not, of course, such as the various cases of failed artist directors. Most directors are of course focused, even very good directors. For example, I like Nolan is obviously more technical hang, and Ang Lee is an artistic origin, on the road of less successful technology pioneers. Most of the time, and this "1917", I really feel the artistic and technical perfection of the director is what.
The story itself is simple: the spring of 1917, on the French battlefield of World War I. Two soldiers were selected to deliver an important piece of information that could save the lives of 1600 British soldiers, including the brother of one of them. The problem is that the task seems impossible: the enemy lines, trenches, and scorched earth are in front. And they only have two, and less than 24 hours.
Under this setting, what would you do if you were the director? You can play a biography of a saint like Blood Wars Hacksaw Ridge, or you can shoot a human test like Save the Great War Ryan, or a shell bomb like most of the war films, with lofty ambitions. But the film was made into a long shot -- even if not -- an immersive war experience. Imagine you live in a big escape game, ahead of all kinds of checkpoints, enemies, traps, you have only one chance, can not be restarted, the only advantage is to have two lives (two soldiers), but the game is over when you die. In the film's two hours, the camera around the two protagonists, their every move, their breath, fear and hope, have been counted into the camera. The audience becomes them, their fear becomes the fear of the audience, their despair becomes the despair of the audience, and their bravery becomes the bravery of the audience. From a technical point of view, I think it's worth shooting a trivia of at least the same length, and I really want to see how Roger Diggins, who was able to seal the shots of Shawshank's Redemption, took those shots, thinking about the Andy shot in the rain. He was nominated 13 times for an oscar and never won, and if he doesn't win this time, I have the urge to smash the kodak theatre (just found out that he won the silver wing killer 2049 the year before last).
The story of sending intelligence sounds so simple, but does not give people a minute of boring plot, because in the overall tense rhythm, the director also arranged Zhang Chi's environment and scene settings. From the front to the end