Strip away the actor's interpretation of emotions, and present the world view without bringing it in

I really like the lobster, dogtooth and the Alps before the director. In terms of aesthetics (pictures and music), this film is not as easy to accept as the lobster. It is more like the Alpine period, more obscure and cold, and the location is also in the hospital. I understand why I chose to shoot in ohio, but the story should only be positioned in the middle-class subarb in the United States, and the rest is a matter of funding. The director is Greek, and as a foreigner, I have to say that the director captured the experience of subarb in the United States very accurately.
This article is mainly to analyze the director's work, not to discuss the plot.

After checking, the cinematographers of dog tooth, lobster and holy deer are all the same person Thimios Bakatakis, only Alps is the cinematographer made by Christos Voudouris. In addition, I have to say that my favorite Norwegian movie blind and last year's una are also works by Thimios Bakatakis. Then the music supervisor team of Sacred Deer and Lobster has not changed much. Therefore, the choice made by the difference of sensory experience should be completely in the service of the story.

In terms of story, Sacred Deer has a stronger payback fable flavor. Compared with the previous ambiguous and ironic lobster dog teeth, this time it is not so funny, not so beautiful, and more like funny games, more bloody, cold and violent, especially when it arrives. The last climax scene was so absurd and cruel that I had forgotten the reason.

Watching Sacred Deer in the cinema reminds me of another movie starring Nicole Kidman, lars von trier's dog town made a minimalist cinematic expression, similar to a stage play, but in a cinematic style The language of the lens, the skin of the background is peeled off, and only the most primitive bones remain. In a similar way, the director performed this drama in the form of a monotone dialogue language performance, stripping the actors of their personal emotional interpretation of the characters. Each actor is a chess piece, a prop, and extreme dehumanization makes the film narrative. The combination of form and drama is no longer an ordinary modern film to control the audience's feelings to micromanage the experience, but through this indifference and alienation, the audience no longer empathizes with any one character, but views the story itself as a whole. This way is more like showing you an elaborated dollhouse, rather than a house tour that exploits your attention all the time. (For example, lalaland, each scene has a strong purpose and emotional orientation, and the more I learn, the more I feel that the film is building up a lie of an experience)

However, in comparison, the performance in the holy deer is better than all the previous films. With more emotions, Nicole feels more nuance than Colin. However, I still have no sense of substitution in one of the characters, and all the characters are not very likable. Such an indifferent and restrained viewing experience is that all the audience witnesses the whole development from conflict to climax. Perhaps this is the best way to present a story like this.

In addition, the director's wife did not appear in his film for the first time, and the actress who played heartless women in The Lobster.

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