Babyteeth is a girl movie, which consists of poetic diary subtitles, characters filled with youth hormones, bright and lively video style and short and exquisite narrative structure; but in contrast, it tells a story of a self-imposed exile girl Milla and an undercurrent and surging middle-class family composed of neurasthenic, drug-dependent and suspected derailed parents, accompanied by the emergence of youth Moses and the death of the girl Milla. The light and crisp narrative style forms a strong contrast with the desperate and morbid character core, which makes the film a fragile artwork.
Milla seemed to be a lovely girl when she danced carefreely with the record at the music teacher's house. She lied in the face of her parents and kissed the bastard who was a few years older than her. The style made people quickly discover her anomaly-she seemed like a child without pain, and was addicted to piercing the vein with scissors to see the blood flower for fun. Moses was a bad and furious mix, and he appeared with excessive hormones evoked by the bad boy's aura, indiscriminately letting pure Milla fall in love with him at first sight. One of them is dominated by an unactive and irresponsible emotional advantage due to age and social experience, and the other is not as timid as to show her innocence, although she is actually pure in the deep heart.
The early love made parents who were deeply in a middle-aged emotional crisis object very much, but they were still unable to solve their own problems, and they couldn't stop their daughter from falling in love with this social young man who deceived her money and stolen drugs from home. What's more, they all owe Milla, who is terminally ill, and want to give her the whole world. In the Just Another Diamond Day paragraph, which was so unbearably beautiful, they accepted this ridiculous thief and liar who had another girlfriend, alcohol and tobacco, and drug dependence into their family. In this way, four patients with no love abilities and a lot of troubles each form a deformed relationship network that desperately depends on each other.
As the narrative distance gradually narrowed, the lens deepened into the fragile and broken inner world of the girl. The more life burns to the end, the more brilliant and unreserved sparks burst out. In the party scene, the soft and gorgeous lights alternately splattered on Milla's face, and when they kissed strangers, the light of a firework bloomed on Milla's side, and the romantic ambient light seemed to bless the world.
At the begining, Milla's mother told Moses that Milla had a baby tooth. At the end of Babyteeth movie Milla begged Moses to help her commit suicide failure, her deciduous teeth fell off in a suffocating kiss, and a painful growth that ended in death finally came to an end. The family moments at the end of the beach somewhat dispelled the power of the tragedy, making the naive and cruel calm narrative distance of the previous film seem a little sticky; the director seemed to realize this too, so the film was finally fixed in the fixed camera of the empty scene The waves washed away the remaining youthful vitality and the desperate emotional entanglement, and the white land was really clean.
Milla seemed to be a lovely girl when she danced carefreely with the record at the music teacher's house. She lied in the face of her parents and kissed the bastard who was a few years older than her. The style made people quickly discover her anomaly-she seemed like a child without pain, and was addicted to piercing the vein with scissors to see the blood flower for fun. Moses was a bad and furious mix, and he appeared with excessive hormones evoked by the bad boy's aura, indiscriminately letting pure Milla fall in love with him at first sight. One of them is dominated by an unactive and irresponsible emotional advantage due to age and social experience, and the other is not as timid as to show her innocence, although she is actually pure in the deep heart.
The early love made parents who were deeply in a middle-aged emotional crisis object very much, but they were still unable to solve their own problems, and they couldn't stop their daughter from falling in love with this social young man who deceived her money and stolen drugs from home. What's more, they all owe Milla, who is terminally ill, and want to give her the whole world. In the Just Another Diamond Day paragraph, which was so unbearably beautiful, they accepted this ridiculous thief and liar who had another girlfriend, alcohol and tobacco, and drug dependence into their family. In this way, four patients with no love abilities and a lot of troubles each form a deformed relationship network that desperately depends on each other.
As the narrative distance gradually narrowed, the lens deepened into the fragile and broken inner world of the girl. The more life burns to the end, the more brilliant and unreserved sparks burst out. In the party scene, the soft and gorgeous lights alternately splattered on Milla's face, and when they kissed strangers, the light of a firework bloomed on Milla's side, and the romantic ambient light seemed to bless the world.
At the begining, Milla's mother told Moses that Milla had a baby tooth. At the end of Babyteeth movie Milla begged Moses to help her commit suicide failure, her deciduous teeth fell off in a suffocating kiss, and a painful growth that ended in death finally came to an end. The family moments at the end of the beach somewhat dispelled the power of the tragedy, making the naive and cruel calm narrative distance of the previous film seem a little sticky; the director seemed to realize this too, so the film was finally fixed in the fixed camera of the empty scene The waves washed away the remaining youthful vitality and the desperate emotional entanglement, and the white land was really clean.
