? 【#HKIFF 每日影訊】 #虛無派：90後的青春殘酷物語

影片以精準的構圖及長鏡頭述說四個大學生的蒼白生活，觀眾對攝影亦很感興趣，連番追問。「通常當你想觀眾看到某件東西，你會用很多特寫或剪接，迫使觀眾去看你要的東西。」內山拓也認為，這種手法是表現導演主觀角度，而長鏡頭則是客觀呈現真實的世界。「我不想控制觀眾去看什麼。我用長鏡頭跟隨在角色背後，即使看不到他們的臉孔，你仍然能從中領略到故事及人物感受。」不過片尾亦有一場戲以特寫聚焦主角臉部，那是內山刻意強調，希望觀眾那刻能與角色有強烈的共鳴。

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? [#HKIFF41 Festival Daily] #Vanitas: Youth's search for life's meaning

Audience members were interested in his shooting skills, especially the long shots. Director Uchiyama Takuya explained that, through long shots, he offers viewers the choice of perceiving each situation as they see fit—much as people view reality—without his subjective connotation of close-ups and tight framing. The frequent use of long shots viewing the characters from the back—contrary to many films where the director uses close-ups to focus the viewer’s attention and emphasize certain messages—was an intentional alternative, he says. "I don't want to impose any feeling on the audience,” says Uchiyama. “In my shots, you don't see their faces, but you can still feel the characters and their stories."

Full article: http://www.hkiff.org.hk/news/detail?id=80