??Chapter 375: 374. This child must not be sent back to the country_1
Chapter 375: 374. This child must not be sent back to the country_1
Of course, Mrs. ritt didn’t give up watching.
After all, she took a particular liking to the female lead, an actor of such caliber that her performance alone was worth the price of admission, Mrs. ritt was able to keep watching, solely because she wanted to see this female lead’s acting.
It was truly hard to imagine the future developnt of such an actor, who was so young yet possessed such mastery.
In the art and art house film sector, it was common to use newcors or unskilled actors, partly due to budget constraints, as many directors from non-Europe and Arica countries didn’t have the funds to hire big stars and could only find cheaper actors, and partly due to so directors’ preferences. For instance, so directors liked to use high school students to play high schoolers, or pregnant won to play mothers, to achieve a perfect match between the actor and the character.
Mrs. ritt naturally thought that this female lead might also be a rookie who hadn’t made her debut, possibly the daughter of a Shrine family, raised in such an environnt from a young age, capable of expressing the Shrine Maiden’s aloofness from ordinary people.
“From this point of view, the director does have a bit of professional integrity,” she mused.
Mrs. ritt particularly despised those who mindlessly cast big-na stars without any regard for the character’s traits and image, especially nowadays with many politically correct practices in Europe and Arica where movies and TV shows must include black people, won, and individuals of special gender identities, even turning rmaids into black people.
Mrs. ritt believed this was a desecration of art!
However, due to politics and racial issues, this trend was becoming more and more common, especially in France, where the locals disliked having children, and the incoming refugees and immigrants were prolific breeders. In just a few years, black people and adherents of foreign religions might well exceed fifty percent of the population, and at that point, it might indeed be ti to raise the white flag of surrender.
Mrs. ritt was, to a certain extent, sowhat racially prejudiced.
However, a director like Lu Ban who selected actors based on character traits made Mrs. ritt feel not too bad about him; at least, there was a basic respect for film.
She continued watching.
The following segnt of the plot was about the reason for the journey, and at the sa ti, the male and female leads formally t for the first ti.
Mrs. ritt was not sure if it was her illusion, but whenever the female lead appeared, the scenes seed unusually soft and gentle. A few short shots with hardly any dialogue, relying solely on her acting, had already left a deep impression of the female lead in her heart.
The scene in the movie shifted to the evening, the male lead walking alone in the courtyard for a night stroll. The sakura at night had a different flavor, unlike the warm coziness of the day, it had more of a bewitching and enticing charm.
The male lead heard a peculiar sound, followed it, and arrived at a yard.
He saw the Shrine Maiden focusing intensely on archery, bow in hand.
Thud—
With the arrow striking the bullseye, Mrs. ritt felt her heart quake for a mont.
The female lead at night seed different from how she was during the day; if the dayti version was cool, lofty, and unattainably beautiful—a flower to be admired from a distance—the nightti version, like the falling night cherry blossoms, possessed a captivating charm.
That arrow was not shot at the target but struck deep into Mrs. ritt’s heart.
She had seen many movies where the female characters either existed as appendages to n, decorations set against the backdrop of male chauvinism to showcase the heroism of male leads.
Or it was simply replacing the original male lead with a woman with no hint of feminine characteristics, just using the title of woman to tell a man’s story, a bait-and-switch script.
But this female lead—by day, she was like a well-bred elegant girl with a hint of detachnt from the world, and by night, she revealed her diligence and dedication. Such a woman, independent, ambitious, and full of charm, composed a character that Mrs. ritt liked.
“Not bad at all.”
She took another sip of her martini, allowing the cool liquor to moisten her throat, bringing a hint of chill on this damp, early sumr day.
The fleet set sail, and next was the male lead’s turn to showcase himself—he fished at sea, blending in effortlessly with the sailors and striking a stark contrast to the female lead, Amber.
Yet through the details, it was still evident that Amber herself aspired to that free life; the only reason she maintained her current aloof deanor was to avoid getting too involved with those around her and thus, avoid wavering.
“Classic character design, cliché, but quite a feat if perford well.”
Mrs. ritt made a comnt.
In current cinema, many people want to portray a character that grows and changes, for such characters are more layered and deeper, and if well depicted, are more endearing to the audience.
But many directors have failed—either the character is initially too detestable, with insufficient motivation for change, making it feel fake to watch, or the actor’s performance is limited, showing little difference from beginning to end.
In Mrs. ritt’s view, a character like Amber is a classic representation of a princess who yearns for freedom but is burdened with responsibility. Such characters usually develop certain affections with the knight escorting them to their destination and undergo transformations, eventually either breaking free from their fate to pursue freedom or upholding their duty and parting ways with the knight. Either way, they are certain to change.
Whether such classic character design can be successfully created hinges on more than the plot—it’s significantly dependent on the acting.
And without a doubt, the portrayal of Amber now was a resounding success.
“We’ve found a real gem,” Mrs. ritt couldn’t help but exclaim. Such actors, given ti, will inevitably beco true superstars, capable of handling a variety of roles.
She wondered if this actress would attend the film festival; if so, Mrs. ritt was determined to persuade her to stay in Europe for artistic cultivation rather than sinking into those profit-chasing film sets.
This talent must not be allowed to return to her ho country.
By this ti, the movie had reached its first quarter, and under the moonlight, Shobu, the leader of the rcenaries, explained that this journey was highly dangerous. The cara panned out, showing the two boats shrinking in the distance, crossing the ocean, and gradually reaching another fleet of boats.
On this fleet, the Bandaged People, wrapped in peculiar bandages and looking oddly unique, were leading several warships, eyeing the protagonist’s fleet with predatory anticipation.
Undoubtedly, in the upcoming plot, they would seize an opportunity to attack the protagonist’s fleet, attempting to kill the female lead.
“Still the sa old adventure action movie tactics, huh?” Mrs. ritt picked up her glass, about to take another drink, only to find her glass was already empty.
Rather unusually, perhaps due to the hot and humid weather, she had finished her drink.
She paused the movie and got up to pour another glass, but after thinking it over, she decided to put a bottle of sparkling wine in an ice bucket and take it to the screening room instead.
During the break, Mrs. ritt noticed she had received several text ssages— all from colleagues who were fellow judges.
The content of their ssages was more or less the sa, revolving around a single the.
“Go watch ‘Peaceful Days in Spring’!”
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