SH is the abbreviation, I can only think of "Shanghai".
The city is not too small, but too vast.
The scent of the shower gel mixed with the gold spun softener and spread throughout the room. It's too cold outside. My windows are also closed. At this point, the functionality is much more advanced than the nostrils.
As a horror film, SH is not challenging for me at all - the MADE IN USA label is destined to not be deeply rooted in its horror. But there is still a slight sense of isolation at the end-of course some people like to call this feeling "peak experience" or close to "peak experience".
It's as if you're standing next to the performer, watching with your own eyes and not through "extensions."
Looking at the scene layout and character modeling of this film from the perspective of a film lover who does not fully practice CULT is still worthy of admiration - of course, the experience gamers get when they see the scenes where they have been in it is another. It's the same thing - from the ceremony site to the pale dark purple dress of Alyssa to the iron chains used to make the flesh and blood to the religious symbols that appear overwhelmingly in the camera, the promotion of a completely Gothic aesthetic.
And Jodelle Ferland, the little girl who plays the sand wheel, is the epitome of the goth aesthetic in this movie. The indifference and hatred of the face when playing Alesha also contains some wrecks that were once uneasy and fearful; when playing the sand wheel, the innocent and ignorant expression and the willful expression of a city child; at the end of the film, these two are completely different. The complex and repeated emotions when the emotions compete with each other for Sha Lun's body; they all remind me of the young girl in "This Killer Is Not Too Cold".
The plot is actually quite common, and the protagonist is also the most common "stubborn daring family" in horror movies-no matter how terrifying and adrenalin-transitioning scenes she sees, she is still unswerving. Go ahead or take a light to shine over it.
Generally speaking, the development of this story can be divided into three lines: the emotional but powerless people in the real world (the husband and the police); the daring female characters who walk from the real world into the dark world (the wife and the female police officer); Alessa who leads the world of darkness. And the complete series of these three lines is a key word - "mixing".
From Rose's passing out to when she wakes up from the fainting and finds that her daughter is no longer around, there is a long black scene - in mature films, black scenes can't be used casually - it shows that she is from reality. A process required for the SH of the world to mix into the SH shrouded in darkness.
When Rose goes underground and makes head-to-head contact with Alessa, the fact that she understands SH is mixed with the "reward" Alessa offers, her body is mixed with Alessa's.
Alesha and the dark part of Alesha are mixed in the hospital using hatred and the dark power (witch) that they both have as a medium.
At the end, the sand wheel mixes Alesha, Alesha of the dark part, and Alesha of the light part, and returns home with a body that is no longer the same.
This kind of hybridization is a kind of "grayism". When the "normal world", "surface world" and "inner world" divided in the game are all merged into a thin, pale-faced Gothic-style little girl, it is already very impactful in itself.
SH, the place "you chose" to be in and invovled.
Same to SH.
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