As the first adaptation of director Atom Egoyan, "The Sweet Hereafter" inherits the structure and concepts that have always existed in his films: interlaced and complex narrative structures, meticulously crafted image sketches, and the protagonists lurking under the calm appearance. Huge pressure and inner conflict. Slightly different from the past, the director did not set a critical point for the development of the story this time, but directly revealed the tragic background behind the car accident in a way of exploration and observation. The most noteworthy thing about the film is its unique and complicated time structure. A car accident in a calm town is the central event of the whole film, but the director did not directly tell the audience the cause, course, and result of the accident, but through continuous flashbacks to make the narrative in three different The free combination and intersection of time and space. Interlaced presentation of different personnel in the town before and after the accident, and interspersed with the lawyer's memories of the relationship between him and his daughter from time to time. This kind of structural arrangement coincides with the disorderly flow of consciousness when remembering. After witnessing the narratives and memories of different people, the audience gradually enriches the ins and outs of the whole event, and at the same time understands the emotions, destiny of different characters in the town, and them. The relationship between. The most touching part of the film is the portrayal of the pain and the irreversible pain in life. The director made the most touching description here.
The Sweet Hereafter evaluation action
2022-01-08 08:03
Extended Reading
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Mary: (Speaking of a new computer, a gift) From Mr. Stephens... That was him on the phone just now. He was calling to see how you were.
Nicole: Who's Mr. Stephens?
Sam: Uh, he's a lawyer. He's our lawyer.
Nicole: You and Mom have a lawyer?
Sam: Well, yes. He's your lawyer, too.
Nicole: My lawyer. Why do I need a lawyer?
Mary: Well maybe we shouldn't be talking about this just now, with you barely home. Aren't you hungry, honey? You want me to fix you something?
Nicole: No. What's this lawyer business?
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Billy Ansell: Mitchell Stephens, Esquire. Tell me, would you be likely to sue me if I was to beat you right now? I mean, beat you so bad you piss blood and couldn't walk for a month. Because that's what I'm about to do.
Mitchell Stephens: No, Mr. Ansel. I wouldn't sue you.
Billy Ansell: You leave us alone, Stephens. You leave the people of this town alone.