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̈The Salt Lake City Weekly is not a professional film review newspaper, nor is it an influential newspaper, but as the official venue of the Sundance Film Festival, their reviews are undoubtedly representative of everyone's views.

In addition to Jesse James's film reviews, four other professional Sundance film critics wrote reviews, all of whom expressed their amazement at ̈ Before Sunrise, "marveling at Hugo's boldness and outrageousness on the one hand, and the smoothness and excellence of the story on the other, and they gave it a score of 8.0 out of 10 on the official Sundance Film Festival catalogue."

That's not the highest score, and it's currently behind Edward Burns' Mrel60RN's McMullen Brothers. bhotners。 00en)" and James Mangold zues. ng's ̈Unspeakable Love Words ezvy)", but it can be ranked third among the works that have been released, which can also be seen in the high evaluation.

If it is customary in previous years, the comments of the house catalogue basically represent the views of the entire film festival, but this year this is obviously not the case, except for the festival house programme, the major media that have flocked to the festival will obviously not continue to remain silent.

̈Los Angeles Times" Nicholas McLaen wrote the film review for the first time, and from Nicholas's review, you can deeply feel that "before sunrise" This seemingly boring movie, in fact, the whole movie is full of thought-provoking countless details.

̈This is a film without a story, all the Yiqiē is clear and straightforward without any room for imagination, but it has nothing to do with the plot, only in the details. ”

Nicholas's ascension, as always, is full of personality and a distinct attitude, pointing to the subject accurately and directly.

̈The man and the woman met on the train and had a good conversation, so they got off the train together in Vienna and had an evening of conversation. That's all there is to the story, and there is no need to say more, but it is precisely such a simple and even boring story that blooms with unprecedented charm.

Many times, the audience doesn't even remember their names, because they only mention them symbolically once out of habit, and then disappear into the long lines of conversation, blurring people's memories. But it doesn't really matter, because in this sleepless night, this city where no one knows them, they don't need names to confirm each other's existence, they just need to witness each other's lives with confessions, which make them no longer belong to a name, a social symbol, but simply to themselves.

In this night of confession, all the qiē had no cover, they faced each other honestly and truthfully, and even faced themselves without concealment. Those straightforward but evocative dialogues are not for two. Sex. The relationship is not for social entertainment, let alone for showmanship, but for comprehensive self-discussion and deep soul conversation.

They say it to themselves, and then be lucky enough to meet someone who understands.

The most special thing is that two people pretend to call their friends in a café, throwing up the cover-up and pretense between men and women, so that each other can stand in front of each other authentically and nakedly. They pretend that the other person does not exist in this space, pretending that they are discussing the man or woman around them to an unrelated person, and talking about their feelings about this man or this woman. Is this boring conversation? Obviously not, it's about being honest with yourself and being true to the other person.

The meaning of this encounter lies in this confession, the dialogue with each other, and also the dialogue with oneself. It comes from this confession that makes the relationship between them one night more profound than the ten years before they met and the ten years after they met, because this night's confession comes at the cost of their past and future will never meet again. This makes this night unique, a specific moment in time, not of the past, not of the future, only of the present.

Because of this confession that gives meaning to this encounter, the whole film chooses this method: from the beginning of the dialogue, to the process of dialogue, and then to the end of the dialogue, because the breadth and depth of the dialogue determine the meaning of this encounter.

Death, anger, fate, time, the social roles of men and women, politics, religion, life, etc., seem to confess all the values and worldviews that have been precipitated in life, and the encounters along the way become metaphors: fortune tellers, gypsy girls, homeless people who write poems, etc., and their unintentional words can often become a catalyst for inspiration for their conversations, and then become a hint.

This encounter develops a love, but the encounter is only an encounter after all, because there is an encounter and there is a breakup, when the encounter rises, love bursts out, and when the encounter ends, love freezes.

The woman says she is most afraid of the last seconds of consciousness before death, because you know that you are going to die. And this encounter itself carries a metaphor of death: from the beginning of the ascension they have a tacit understanding that parting will come before sunrise, but this clear consciousness cannot stop their conversation, she just sees this encounter as a passing passerby, so when they realize that separation is inevitable, the consciousness of fear rises and breeds, and the turbulence of love brings out another proposition of love.

On the one hand, we hope to be able to hold the other half by the hand to the focus of life, but on the other hand, we are afraid that the boredom brought by time will eventually precipitate love into a habit, disappearing along with the original beauty, leaving only obligations and responsibilities.

Many times, human beings, in the case of extreme happiness, sincerely hope that this moment will be frozen forever, not so much to cherish the present as to fear the future, because we are not confident that the future can be so happy; But on the other hand, the turbulence of love makes people unable to extricate themselves, and they can't give up their long-lasting thoughts. So this forms a contradictory cycle of death, which is also the most fundamental entanglement in countless loves.

The man said in the story that if he could accept the truth and accept his naturally simple fate, he might not be so bitter and angry. But the crux of the matter is that he is not willing to accept it. The same is true for love, who is skeptical and hopeful at the same time, and can't help but pray even if he doesn't fully believe it.

So, men and women are like this in the story, on the one hand, they want to lock all the good things in a chic way tonight, and then say goodbye to each other completely, without thinking about the future, without worrying about a lifetime; But on the other hand, I want to continue such a beautiful thing for a long time, so that I continue to nag about whether to meet again or not.

Before parting, the woman mentioned to the man that the love she longed for was not the spark of love at first sight, but the simplicity of the long stream and the possibility of continuing, which made people simply and with good wishes believe that the supreme state of love is plain but long-term. The parting at the train station that followed deepened the fact that the love derived from the encounter would have room for further development, because they would be as trivial and tangled as all parting people, and they would be reluctant to let go.

A sentence of reluctance is the true meaning of love.

But when they are confused about how to maintain a relationship and seal a good thing by not contacting, they forget about another possibility that makes love lose its original color, that is, when they return to their own lives, meet people in their own lives, and then naturally forget about each other. Maybe at this moment they think that the splendor of this encounter will make them unforgettable for the rest of their lives, but most of the time I don't understand where they get this kind of confidence: self-confidence memory can compete with time and life, and the weight of self-confidence and emotion can resist the wear and tear of time.

・The Norwegian forest, such a cherry blossom dance, unforgettable youth, and Watanabe, who is middle-aged, can only listen to the old Beatles song and secretly confess to himself: It will take me a while to remember Naoko's face like this. And, as the years go by, time takes longer and longer, and although it is sad, it is true. What I could remember in five seconds at first became ten, thirty, and then a minute.

This is a false proposition, because it can only be confirmed when people have experienced it themselves, and it can only be understood after it has really undergone the precipitation of time. ・Before sunrise, there is no answer in the story, but I can feel his discussion of this proposition in Hugo Lancest's script, like a dragonfly passing through my ears. If I had the chance, I would like to see Hugo explore this proposition, and perhaps it would be a different story.

The final set of shots of the film slowly sweeps over the places they walked together, the cemetery where the nameless dead are buried; the benches in the narrow aisles where they once sit; Meet the gypsy girl's fountain; a silent river that washes countless corpses in the water to its shore; Drink and watch the green grass of the stars and the empty wine bottles on the grass.

At that time, I suddenly wondered if these fixed scenes had memories, whether they would be more resistant to the erosion of time and more durable than our memories; If there is a point that even these buildings can't withstand the time and eventually decay and collapse, will we still remember the footprints that were received by a certain one of us, and the laughter that floated through us in a certain section of the river?

There is an end to the movie, but life has to go on. Who wins and who loses in time and love is not something that can be decided by a movie. But fortunately, Lanshengster uses this way to let people see the essence of love, and then silently watch the big screen for a long time and can't return to reality, not because the love in the movie is too beautiful, but because the love in the movie is too real.

・Don't let time deceive you, you can't beat time, in the midst of worries and worries, life passes away vaguely, time will have its own preferences, tomorrow or today. The verdict of time on this encounter made me realize the fragility and uncertainty of love in front of it, which may be another meaning of this encounter. ”

Nicholas analyses in detail in a realistic yet poetic way ̈ Before Sunrise "The core idea of the film is absolutely ingenious, and at the end of the review he takes an even more unusual approach.

̈Finally, end with the poem of the wandering poet in the movie.

Immersed in the hallucination of daydreams, blinking my thick eyelashes, oh dear, across your beautiful face, falling into a tear in my wine glass, staring into your pure eyes, knowing that you are the meaning of my life, as if milkshakes blend in the sweetness of cake, I am like an angel in a trance, swimming and floating in dreams, how can I bear to see your heart turn again? But how can the two be happy? I don't know where I came from, and I don't know where we end. Just embrace life, just like a stream will eventually merge into a river. Drift down, go with the flow, you have me, I have you, it should be like this, can you know my heart? ”.