A man and woman kiss in her apartment before the camera cuts away. It’s confirmed in a later conversation that they slept together.
Nothing is ever shown
We see a small, modern-looking statue of a man Something you would find in a art museum
A man sniffs a woman’s bra after he finds it in her drawer.
A woman wears a low-cut dress on a date.
A woman talks about how she kissed a man.
It’s mentioned that a woman is having an affair with a man. Brief


Film review:Translated by www.rabudo-ru.com


“For a long time, I lived alone. This life became more and more lonely and boring. I had nothing to do all day. From then on, I began to follow others.” at the beginning of the video, our protagonist bill, a lonely young man with “down-to-earth artist temperament”, said to a policeman. In fact, except for the last few minutes, almost all the plots of the film are told within this readme framework. The most basic pleasure of the audience comes from the process of listening to others tell about their private life history.

With the deepening of the narration, a young man’s lonely life is displayed in front of the audience. He has no job, lives alone in a filthy single apartment, reads Plato, wants to be a writer, but he doesn’t even have the courage to admit his dream. He has sexual fantasies about blondes like Monroe (Monroe’s poster is posted at the head of his bed), has no friends, and is “a poor man who lacks social intercourse”. When loneliness exceeds a certain limit, it is prone to psychopathic behavior. Our hero begins to follow strangers, peep into their life and work, and revel in some unexpected discoveries. In fact, in the first few minutes of the plot, I had regarded the young man as the kind of character described by Dostoevsky; Later, when his theft coach appeared, I easily connected it with Bresson’s pickpocket – both films contain the motif of a lonely young man committing a crime under non utilitarian motives, and they both have a coach to guide them to commit a crime; If the young man in “follow” lacks the philosophical motivation for the crime of the protagonists in “crime and punishment” and “pickpocket”, he is very close to Martin Scorsese’s “taxi driver”, who cuts hair in an extremely lonely center and makes unconventional actions.

Because the British director Christopher Nolan’s debut work is too prominent in the narrative mode, it creates a Nolan narrative style, and is considered to pave the way for the memory fragments, which later brings this narrative style to the extreme. Film critics often talk about its theme. In fact, while pondering the narrative form, Nolan never forgets to inject his views on the world and people into the film, which makes the film’s grasp of the connotation of human nature far higher than those mediocre works.

When the police asked Bill why he wanted to follow others, Bill said he was a writer, and then changed to say that he wanted to be a writer. Following others can find material for his writing. This is a high sounding reason. While Bill answered this, the director told the audience another answer with a rough black-and-white picture: This is an extremely lonely young man who is excluded from life. He was almost completely isolated from the world because his eyes had been staring at the depths of his heart and neglecting to communicate with the outside world. However, man is always a social creature, so “following” has become his way of participating in life at the minimum. Aware that his behavior was on the verge of psychosis, Bill tried to prevent himself from getting out of control by establishing rational norms, such as being completely random and not having pre-determined goals; The time of following an object cannot be too long; After nightfall, don’t follow a lady in the dark and so on. The norm worked at first, but when “it stopped this randomness, things began to get worse”.

The first interruption of this randomness was Cobb’s appearance. Cobb was the one who was followed by bill, but he found Bill’s follow – and then the audience knew that it was Cobb’s elaborate scam. As soon as they contacted, they immediately found that although they had different ways, they were also like-minded: “both of them were interested in ‘people’. It turns out that Cobb and bill have almost the same abnormal hobbies: burglary, stealing personal items such as CDs, diaries and underwear. Although sometimes they also steal money, it is not the main purpose. Cobb explained that all the fun of doing this is to interrupt other people’s lives and get some psychological pleasure. Next, Cobb taught bill the whole process of stealing skills, which can be regarded as an imitation of pickpocket to some extent. Cobb asked Bill to join his theft and kept telling bill about his theft. For example, he found that everyone has a box. Of course, most people only have a shoebox, while a few people’s boxes contain their worthless but most personal things. In Cobb’s view, everything in them tells the most secret story about its owner. He always looked for the box first and took it as his own. Once, Bill deliberately brought Cobb to his house to steal. Unexpectedly, Cobb saw at a glance that the owner of the house was a “jobless wanderer in his twenties, imagining that he was a writer”. He was very angry and left without taking anything. Of course, later the audience knew that Cobb had actually followed bill in advance to realize his plot. He must know that there is Bill’s home. Nolan even gave middle-class advice to the audience through Cobb’s mouth, “when they go home and buy all these things from the shelf with insurance compensation, they will consider what they used when they bought these things for the first time a long time ago.”

Meanwhile, with Cobb’s intentional arrangement, Bill began to follow a charming blonde. Together with Cobb, he stole the blonde’s home, took a lot of personal belongings, and gradually became fond of the blonde. Finally, he met the woman in an underground bar. She hinted that the owner of the bar had an old relationship with her and had some disputes. When he found that he really fell in love with the woman, he confessed her theft to her. She told him that the owner of the bar had some private photos of her and was blackmailing her. These photos were put in the safe of the bar, and she knew the password. Of course, Bill wanted to use his stealing skills for practical purposes. He immediately volunteered to help the blonde get those photos back. When bill was stealing in the bar, the night watchman found him. In a hurry, Bill smashed the night watchman with a hammer, and the night watchman fell into a pool of blood… What Bill didn’t know was that he had become the victim of Cobb and the blonde. What the blonde didn’t know was that it wasn’t Cobb’s “accident” that was going to be blamed on bill, It was the murder of the bar owner and Cobb to get rid of her.

This is a serial plot, a story similar to Paul Newman’s “cheat in cheat”. Underground bar, theft, murder and psychosis. Nolan adds enough black elements to the story to make the style of the whole image between Tarantino and the Cohen brothers. Compared with Tashi, Nolan’s characters have more literary depth, which may be related to his undergraduate major in English literature and his narrative style is more stylized; Tarantino is also a director who frequently makes innovations in narrative methods. His characters are often stereotyped people of all kinds of gangsters. His most unique feature is that he runs through the disordered narrative process with extremely rich black elements, so as to show the aesthetics of black and violence.

Nolan once said, “I decided to organize my story in this way, focusing on the audience’s impossible complete understanding of each new scene, just as it was seen for the first time.”

Both the Defamiliarization principle of literary theory and Tolstoy’s novel art emphasize that things should be observed and described as if they were in front of you for the first time. Nolan obviously wants to try in the film. His main way of “Defamiliarization” is reflected in the way of narration. Traditional linear narration or simple flashback narration has become as routine in film as in literature. In fact, the narrative mode of the film has been stagnant since Akira Kurosawa’s Rawlings opened up a multi-threaded tension mode. In 1998, two films broke this situation, one is “Laura run” and the other is “follow”. In the following, the narrative style of memory fragments has begun to take shape. The basic point of Nolan’s narrative is based on the subversion of the traditional concept of time in the film. In Nolan’s view, time is like fragments of memory (as implied by the Chinese translation of his representative works). Therefore, he completely breaks the original natural time in the film and presents events in fragments one by one, The audience needs to deduce a whole in their own mind. Nolan’s narrative method adds “objective basis”: the story of “follow” is mainly told when Bill surrendered. Bill is recalling his experiences. In Nolan’s view, memory is like pieces, sometimes emerging and sometimes sinking into the dark. There is no law to follow, and sometimes their authenticity will be questioned. In the last medium shot of the film – which has got rid of Bill’s readme frame at this time, and the camera is equivalent to recording everything in front of the camera from a completely objective third-party perspective – Cobb, who reached the framing plot, stands in the stream of people, and the pedestrians in the foreground block the camera. When he walks away, Cobb is no longer there and he disappears. In Nolan’s view, the events shown in front of the camera appear and disappear irrationally, which is the essential way for things to present themselves.

However, Nolan’s most original and successful place is his limitation. As far as art is concerned, it always pursues the complete integration of form and attribute. Nolan’s narrative style is so stylized that the theme connotation of the film is almost dissolved in its form. With the same stylized narration, Tarantino knows more about moderation. At this point, Nolan is very close to his predecessor Hitchcock. Nolan once said to himself, “I am Christopher Nolan, a typical Englishman. Like my predecessor Hitchcock, I am not only a director, but also a person with fantastic ability.”

The same British people, who also prefer the formal language of the film over the attribute or real interest, also carelessly spread their ideas (but not insignificant) in various hints and metaphors of the film, which may be the fate of British directors.

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