Filters were used to distort the images of Warsaw, creating a raw, unattractive image. Kieslowski credits his cinematographer, Slawomir Idziak for this deliberate visual unattractiveness within the film stating, “I sense that the world is becoming more and uglier, I wanted to dirty this world”.
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“仿真和拟像”关于后工业社会真相如何被生产的媒介自反本身不算多前沿深刻的思索6人轮换甚至呈现得直白——将问题简单化的肤浅预设当然电影并不负责批判本片仅关于 France 作为个体如何在扮演自我的拟像游戏中挣扎只有当戏剧性闯入才能引发她的真情实感——唯一的真实只在情节剧式抓马又诙谐的架构中生效相当奇特的“新电影”实际比 Don't Look Up 更辛辣待重看
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