The Last Mango Before the Monsoon has no central character, narrative arc or clear progression. Its scenes are non-linear and flow freely into one another. Rather than being a weakness, this is precisely the film’s strength. The film is perhaps the first clear example in Kapadia’s filmography of how sound can lead the process of image-making, with densely layered aural textures...
季风来临时，我又梦见了你。
手绘的部分更多
简洁有效的镜头语言，看似散漫却无比精准，寥寥几镜便勾勒出数十年时间跨度且夹杂着虚实的往事，现实、过去、梦境以一种有机的方式构成了整体。亡夫在森林里游荡找不到出路，困在现代高楼里的妻子，长年的思念在长镜头中缓慢溢出银幕，森林的广阔和高楼的逼仄这时如此相似，异质的外部空间竟然能在人的内心达成统一，这真是卡帕迪亚的天才之举。而丈夫因芒果而死的怨念，又怎能因一餐芒果饭而消解呢，最终留下的是无处安放的孤独。
没看懂，但一定有很意思。
观感很舒服。