The Boy with Moving Image has potential, both from story ideas and style. The story opens by showing Ning repeatedly slapping and choking himself. Suddenly Vaiyang arrives, who is about to make Ning’s house a filming location on the recommendation of his friend Roufy. Ning was willing to lend him the house for free, on the condition that Vaiyang would accompany him until he died tomorrow. Top Movie Site
For some reason, Ning was sure that his death would come tomorrow. Even though he was confused, for the sake of a free location, Vaiyang agreed. The two of them started doing various things together, from eating, playing badminton, playing music, learning to smoke, and so on. Vaiyang seemed to bring fresh air into Ning’s life through new things. And we also know that Ning became suicidal due to the departure of his parents, who died in a plane crash six months ago.
Slowly Ning began to smile, even laugh. The turning point occurred when Ning asked to be taught acting, then Vaiyang asked him to say the sentence, “My name is Emma Ningrum. I want to die soon so that I can meet my family in heaven ”, in front of the camera, with various emotions, including happiness. Acting can indeed be used as a medium for catharsis, even psychological therapy. Vaiyang (and Roufy) understood that.
So does this film talk about the process of self-healing as loneliness goes away? I thought so, until the conclusion said differently. There The Boy with Moving Image turns into a story about a man who has expectations without trying to understand. Ning repeatedly conveyed images of the sorrow he felt, but Vaiyang, as if without sensitivity, let the images pass, moved away without trying to capture them. Best Movie
Again, an interesting idea, and of course with a different approach. But again, is different always better? No, if it is not done properly like this film. I understand the limited costs, and appreciate Roufy and the whole team who keep going even though at a limited cost, but the poor sound system, where so many voices are leaking (motorbikes passing as well as other noise), is really disturbing. And if anyone considers the sound to be a nuance enhancer, I firmly argue with that.
The Boy with Moving Image is wrapped using many still shots, strange and awkward nuances, and deadpan comedy. Perhaps Roufy was inspired a lot by the works of Roy Andersson and Yorgos Lanthimos. Unfortunately, apart from perfunctory cinematography which is unable to support the quirky development as expected, Roufy’s modeling is not yet mature. The only laughter was produced in the closing shot, thanks to the absurdity of precision that gave birth to tickling irony.
Absurdity like that is what this film needs. At least the second half shows a lot of effort to get there, although it seems like, by the time it gets to that point, the audience is already tired, or even like me, upset. How come? The first half was unbearable. The chatter about existentialism is presented through makeshift sentences, which let alone provoke the contemplation of the audience, it is not pleasant to hear.
It got worse when the players, especially Bryancini Galgala, played poorly. Either tense, I don’t know what was being said. Whereas apart from Roufy, the script was also written by the two main players. For example, when Vaiyang explained the film Good Will Hunting to Ning, it was not smooth, flat, and awkward. The aim was to generate Ning’s interest in watching Gus Van Sant’s work. But let alone moving the girl’s heart, making the audience interested in paying attention to her words was unable. Movie Review