The beauty of the movie

Answer 1

The beauty of a movie was multi-dimensional.

From the perspective of French movies, the scenes were as beautiful as classical oil paintings. The light was like a musical note, soft and dreamy. For example, the warm yellow light created a unique atmosphere. The colors were rich and delicate, like the overturned color palettes of nature. Each color was full of deep emotions. The composition was exquisite, and every element was placed in the right position. The characters and scenes in the picture seemed to have walked out of a classical painting. Every frown, smile, and every gesture exuded a noble, beautiful, and elegant aura. Every detail seemed to be endowed with soul, carrying endless stories and emotions.

In terms of the aesthetics of horror movies, Agito's mother trilogy was an example. The bright colors often hid danger, and the extreme beauty was the extreme strangeness. Elements such as red castles and blood-red curtains, coupled with strong Baroque decorations and the image of a girl holding a cat, constructed a magnificent and strange scene.

Some domestic movies from 1986 created an absurd sci-fi feeling through the aesthetics of the scene. For example, he could use pure colors such as orange with light contrast, classic red and black, white and black, etc., such as the nightmare scene of Director Zhao's meeting that started in orange. He could use strong color contrast to create a sense of alienation from reality. There was also a combination of simple and empty scenes and ordinary but bizarre close-ups, such as the scene of a clothing store, the presentation of passers-by and statues. The trivial details were removed to make the audience's attention "idle," thus creating an absurd and empty effect.

Director Wes Anderson's works such as The Grand Hotel Budapesti had a unique visual beauty. The picture had high contrast and bright colors. It was balanced and symmetrical and paid attention to all details. For example, pink and pinkish blue constituted the world of lovers. The lobby of the hotel had the color combination of the old European atmosphere (such as coffee, carmine, red gold, gold, etc.). When the long shot or the camera stopped, the home decoration behind the character became the center of the picture. It was still pleasing to the eye and full of balanced and symmetrical aesthetics.

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