【友邻】Zhang Yimou's sumptuous 

Zhang Yimou's sumptuous return to form

张艺谋华丽回归

① Black ink drips from the tip of a brush and daggers into clear water, spiraling out like smoke; rain mottles the sky to a heavy watercolor gray, forming pools on paving stones into which warriors bleed.

黑黑的墨汁从笔尖滴下，扎进清水中，如烟雾般晕染开来；雨将天空染成浓重的水彩灰，在铺路石上汇集成一个个水洼，水洼都被战士的鲜血染红。

② Every supremely controlled stylistic element of Zhang Yimou's breathtakingly beautiful "Shadow" is an echo of another, a motif repeated, a pattern recurring in a fractionally different way each time.

影片中的每一个风格元素，都掌控得恰到好处，让影片美到令人窒息，这些元素彼此呼应，在影片中不断重复，只不过，每一次重复的表现方式都不尽相同。

③ After 2014's semi-autobiographical "Coming Home," which had soul but little spectacle, and 2016's "The Great Wall" — all spectacle and no soul — it seemed like the Himalayan peaks of the revered Fifth Generation filmmaker's career might now be behind him.

张艺谋2014年的半自传式作品《归来》 ，有灵魂却无场面，而2016年的《长城》，有场面却无灵魂。自这两部之后，这位备受尊崇的第五代导演似乎已经过了事业颠覆期。

④ But "Shadow" is a thrilling return to form, which matches Zhang's best work for the sheer voracious elegance of the images.

然而，《影》是一场惊人的回归，仅凭其中优雅至极的画面，就足以与张导最好的作品媲美。

⑤ Most strikingly, in styling the locations and costumes almost entirely in black and white, but shooting in color, Zhang, famous for his lantern reds and golden yellows, gives the whole film a monochromatic sheen.

最令人震撼的，是影片虽然是用彩色拍摄的，后期制作时，却将的色调场景和服饰，几乎全都做成了黑白色两色，本以灯笼红和金黄色出名的张导，这次却用单色谱写了一篇华章。