The film is very beautiful, this kind of goodness is not in depth, but a fresh, interesting, and affectionate good-looking, like a mature woman, suddenly showing the innocence of childhood.
The film uses flashbacks. The opening was the red-hot fashion designer, the Parisian high-end The Dressmaker, returning home. She looked sideways like a beating flame, looking down at the yellow sand of her hometown. When she came back, she wanted revenge, one by one to clean up the people who spit at her, planted and framed people, and she wanted to fight a glorious battle of revenge in this run-down town.
The film has always been an interactive narrative of ridicule and true feelings, a bit like Stephen Chow's comedy, many times it is laughed or sneered, but suddenly, the heart is left empty and soft, and sincere emotions are injected into it like electricity. To mad mothers, to gypsy-like childhood sweethearts, to all kinds of people who are hypocritical and true, those gnashing love and hatred jumped out of the water after a while, stinging heartstrings. However, no matter how sad the encounter was, the heroine just touched the bottom of the cliff and bounced high. Brisk, unrestrained, proud of the world, digested all the betrayal of life, throw away the long hair, then throw away the sadness
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In this hodgepodge of comedy, thriller, suspense, horror and revenge, the characters are full of ugliness, murder, adultery, control freak and insanity each do their best. For better or worse, the film’s exaggerated and presumptuous style can at least make the audience laugh.
The location of the film is very textured, but perhaps to highlight the drama of the story itself, it seems a bit exaggerated and artificial. The costume design is undoubtedly a highlight. Tilly’s bold and bright design contrasts sharply with the outdated and dim tones of the town
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