Screenwriter Tony Grisoni wrote the synopsis and character ideas for the film after a series of interviews in refugee camps in northern France. He basically did not create a complete script, giving the director a lot of room to play. When the film began to shoot, Winterbottom led a small film crew deep into Peshawar, selected some local residents as actors (), and began to follow the protagonist in the film. The journey was filmed on the spot, and the producer first arrived at the destination to make arrangements, and then the film crew arrived and filmed all the way. The use of non-professional actors also places more emphasis on improvisation. Most of the lines are the product of the actors' improvisation
. A large number of scenes in the film come from the barbaric environment of the ancient Silk Road.
In This World background creation
2022-02-07 14:53
Extended Reading
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Scot 2022-03-22 09:02:52
8/10. I've seen Winterbottom finish one of the highest quality ones. The biggest feature is that it blurs the boundaries between documentaries and feature films. The highly realistic DV images convey to the audience bit by bit the protagonist's fears, expectations, and the joy of temporarily relying on them. It can be said that the correct ''political stance'', excellent atmosphere creation and realistic and shocking script are the keys to the success of this film.
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Dolly 2022-03-18 09:01:09
This kind of subject matter is presented in the way of a road film, which is really strange and natural. Compared with other ones, it is easy to focus on the passing scenery, whether it is a desolate mountain group or a restaurant in a developed city. . I feel that it is because of the natural tragic nature of the film's subject matter, and it is also due to the director's shooting techniques. In the story, in a place of war, although there is no shortage of hurried temperatures between people, unpredictable artillery fire drives the locals to flee, and the destination is London, the prosperous capital of Europe. But even after the torture of life and death, what he got was only the status of a refugee. Always dull yellow tones, the long tones used in the soundtrack seem to have been emphasizing the repeated grief of the land. The documentary-like follow-up camera, according to the changes of the plot, appears joyful, silent, fatigued, fearful and helpless, so that the emotions of the characters are placed in the most important shooting, so that the audience can easily enter such emotions to feel this. section of the journey.
In This World quotes
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Jamal: [on phone] This is Jamal, calling from London. Yes... yes, I got to London. Enayat? He's not here. He's not in this world.