Unpleasant, Isabelle Huber while wearing an elegant dress after a night in Paris. The grace of the necessary actress this time respects Sanbin, and she is a sick French artist who refuses to waste her last days of bedding. But it is only one of the four pieces that correspond to “almond”, and the attractive Flora Lauo listed to the family secession that moves between the French capital, the Chinese city of Chungzings and a virtual world of virtual reality, as its characters aim to find its characters common. The geographical gap is blocked between two distinguished stories through the implementation of this space.
Among the opening credits (the names of those concerned appear as the nicknames of the revolving) that the circular result of Mimi Show, Lao announces the visual originality that is chasing it, and mining the fluorescent structure in Chungzings to create great tires, other. There are charming pictures of “Luz” (the title means light). The deer wanders the “virtual streets”, which are served as cats for actual places. Because of the presence of this sparkling mammals, this one knows that this is not a straight fact but rather one imagined. If the drama is measured only to aesthetics, the “almond” will shine.
When the work is not as mine for the head of the crime, we (Xiaodong Guo) spends hours (and a lot of cash) watching his long daughter (Enxi Deng) on the live broadcast channel, and he never appeared to reveal his relationship with his relationship. Al -Ghazlan Al -Rafari returns from the opening of the film in the form of a painting in the president of Cariocy Wei Club. The fabric symbolizes a tangible link – a portal that one can say – between the plot of the parenting wei and the internal disorders carried by Ren (Sandrine Pinna), a young art dealer in Hong Kong heading to Paris to visit her father Sabine. Ren’s father is the artist behind the deer. To escape from their present and meet new people, both REN and Fan participate in a famous VR game known as LUZ. Standard headphone with blue light transmits them there.
In “Luz”, users have many options for environments to explore; The scene of the tongue tape in the cheek shows WEI, trying to communicate with a three -dimensional waiter only for the artificial awareness of the entire concept. It is after FA and knows that he may be able to find it in this unfinished scene. Inside Luz Luo and Film Photographer Benjamin Ikazarita, they use the perspective of the first person, where the camera behaves like the eyes of the character (this approach recently found an exciting application in “Nickel Nickel Nickel” Ramil Ross). There is also a complex thinking process behind how characters enter and exit the digital world, which are characterized by a wave of colored pixels and engineering gates.
But despite everything that satisfies him, the viewer outside the twilight forest inside the game or other urbanism feels worldly and emotionally dull. The poor relationship between Sabyen and Rin (both of which have complicated feelings towards the man who brought them up) fail to develop into a deep exploration of those and their long -term conflicts.
Thanks to its amazing presence and its ability to transfer contempt or understand in one look, HUPPERT activates some of these infantry moments with REN (a sequence in the ocean that feels vibrant uniquely). But in general, the materials cannot keep pace with. The sin of some narrative rhythms in “LUZ” can be very predictable, such as the fact that old characters (SABINE and Wei) at first do not understand the benefit of overwhelming technology in the end of the young women in their lives.
When in almonds, Rin turns into an insecure into a self -proven hero. Meanwhile, Wei allows itself as a weakness of weakness while operating headphones, because he wants to persuade FA of his parental interest. Ultimately, both stories gather in virtual reality, where Ren meets and meditates their motives to use almonds.
There is a comprehensive feeling of isolation conveyed by more stories, in addition to entering the sub -plans, especially in the Wi -A -part (has a male friend in need of a large amount of money and seeing a woman who has a young daughter). At some point, Wei tries to sell a wonderful forged version of the deer panel by Ren’s father, which means that the symmetry can produce a similar feeling as authentic. For Lao, this feeling appears to extend to the overall virtual reality.
Can the illusion raise the same reaction to the real experience? What makes one healthier than the other, if both are mental consequences? Good -intention “LUZ” raises these expanding questions of the mind, but it is devoid of brilliant to follow them useful. However, the film is not sufficiently composed of Liji as a contemplative piece of art. Although Lao’s intention is to excite that technology can bring us closer to the extent that it cannot be far from getting rid of it, the bulk of interest went to its conceptual aspects and not on the heart of its human users.