If "House in the Woods" is an irony of horror films, "Fun Game" is an irony of violent films. Make a horror film to reveal horror, and make a violent film to reveal violence, just as Cervantes wrote a chivalrous novel to reveal a chivalrous novel. Like "The Cabin in the Woods" and "Don Quixote", "Fun Game" completely imitates the traditional genre works in the overall narrative mode. The difference is the way they reveal imitation. In "The Cabin in the Woods", the director painstakingly set up a huge and delicate "imitation testing ground", and the characters in the film entered this testing ground unconsciously and completed a series of set actions; "Conspiracy" (or "fiction") is discovered layer by layer by the characters themselves. With the development of the story and the in-depth excavation, the "fiction" is finally fully exposed. It turned out to be a play within a play; what is interesting is that , the big story on the outside and the small story on the inside are bloody intertwined at the moment when the heroine releases the monster; and all of this, in the last scene of the film - when the legendary giant hand breaks out of the ground ——It is intertwined with a larger manipulator outside the peripheral story. The biggest manipulator is the audience itself, the market. This kind of self-revealing fiction is meticulous and delicate, with twists and turns, creating a non-stop subversive pleasure for the audience. "Don Quixote"'s approach isn't quite as twisty as the former, but it's also fun. Cervantes did this: Let the characters in the novel talk about themselves. For example, in the second part, the master and servant settled in a tavern and overheard someone talking about a book next to him, which is the first part of "Don Quixote". So the master and servant joined their conversation and commented on their own image in the book, just like a critic. Compared with the skills of the first two, "Fun Game" is simple, direct and rude at this point. What could be simpler and more direct than a character in a movie staring at the camera? This kind of "direct look" is completely different from the description or narration of the story when the characters face the camera in ordinary drama films. In the latter case, the characters do not depart from the story itself, but in fact further completes the creator's desire to achieve "story authenticity": I am a participant in the story, I have experienced the story, and now I tell it to you. Its characters will never be like in "Fun Game," when the characters in the story are faced with a choice, look at the camera and say, "Whose side are you on? Do you think they're going to die?" Or when the story progresses Halfway through, I said to the audience, "You think that's almost it, don't you want to see a plausible ending?" As if the audience were one of them. In fact, the audience is one of them. The so-called "reasonable" is that in ordinary violent thrillers, no matter what kind of weird and horrific behavior, there will be an explanation. For example, a murderer who specializes in persecuting women suggests that he may have misogynistic plots or that he was abused by his mother as a child. An explanation like this runs through almost all of the psychopath's character settings in film history. This is called reasonable. This is also called a pattern. In the film, one of the murderers jokingly uses this pattern when describing another murderer, saying that he had an incestuous relationship with his mother, and after that, he asks the victim: "Are you satisfied? Do you want to change? A version?" Indeed, there are dozens or hundreds of versions available. The most speechless part is such a scene: the two murderers disappeared for no reason in the middle, and the heroine took the opportunity to escape. Such a simple plot was extremely protracted and lengthy, about ten or twenty minutes, and I even had I began to suspect that the director had nothing to do, because doing so would slow down the rhythm of the film and eliminate the tension and fear that had formed so hard; however, when the film was about 90 minutes into the film, the heroine was caught again for no reason, this time , One of the murderers said something like this: "Almost, it should be 90 minutes." It turned out that the delay was just to make up the time, because the film is usually 90 minutes long. In the end, this method will not work for novels. It is impossible for any writer to write a sentence after completing the 60,000-word nonsense: almost, it can be regarded as a novel. If so, I just want to tear the book. Because at least the movie is only 90 minutes long. The way of irony is to parody and expose the process of parody, and the way of contrast is through some more detailed things, such as clothing, language, expressions, soundtrack and individual shots. The costumes of the two murderers are too pure. No frills at all: white clothes, white trousers, white shoes, white gloves, shiny hair; the language is too polite. Gentle, gentle voice, neither slow nor too small, but weak, kind-hearted otaku who listened to his mother's words, "Please, please." They said; their expressions were too peaceful and peaceful. Smile from start to finish, eyes filled with a little dread of strangers and love for the world; then the soundtrack. In the prelude, the family travels happily, full of expectations for vacation life, the couple is also playing guessing games with great interest, and the picture is quite calm; and the soundtrack at this time - I don't want to recall it - It is simply It's death rock, no melody, and extremely harsh. As for a single shot, there is a shot like this, the blood of the child is gradually on the TV, the F1 car is playing on the TV, and the two commentators are excitedly explaining the exciting scene - this is the formation of human feelings and media. the contrast of indifference. In fact, there is also a contrast between the film's title and its content. "Fun" and "boring" (or "desperate"); "game" and "kill". The third "reverse" is the contrast. In this film, the contrast is reflected in the shaping of the characters. Although the two murderers are very similar in appearance, similar appearance, similar clothing, similar tone, and similar behavior, and may even be brothers, it can still be seen that one of them is weaker and more silent, and the other is more silent. More words and more actions. In addition, the tranquil environment of the lakeside resort also reflects the bloodthirsty behavior of the two men. When I first saw the cast, it was very strange - why would Naomi Watts and big names like Tim and Ross be in a niche, fringe genre like a thriller? What's more, we all know that the victims in the movie never have much room for performance. They only need to show basic doubts, fear, fright, and despair, accompanied by trembling, screaming and crying. Characters are harder and better for actors. And after seeing it, there is no doubt at all. Language is too polite. Gentle, gentle voice, neither slow nor too small, but weak, kind-hearted otaku who listened to his mother's words, "Please, please." They said; their expressions were too peaceful and peaceful. Smile from start to finish, eyes filled with a little dread of strangers and love for the world; then the soundtrack. In the prelude, the family travels happily, full of expectations for vacation life, the couple is also playing guessing games with great interest, and the picture is quite calm; and the soundtrack at this time - I don't want to recall it - It is simply It's death rock, no melody, and extremely harsh. As for a single shot, there is a shot like this, the blood of the child is gradually on the TV, the F1 car is playing on the TV, and the two commentators are excitedly explaining the exciting scene - this is the formation of human feelings and media. the contrast of indifference. In fact, there is also a contrast between the film's title and its content. "Fun" and "boring" (or "desperate"); "game" and "kill". The third "reverse" is the contrast. In this film, the contrast is reflected in the shaping of the characters. Although the two murderers are very similar in appearance, similar appearance, similar clothing, similar tone, and similar behavior, and may even be brothers, it can still be seen that one of them is weaker and more silent, and the other is more silent. More words and more actions. In addition, the tranquil environment of the lakeside resort also reflects the bloodthirsty behavior of the two men. When I first saw the cast, it was very strange - why would Naomi Watts and big names like Tim and Ross be in a niche, fringe genre like a thriller? What's more, we all know that the victims in the movie never have much room for performance. They only need to show basic doubts, fear, fright, and despair, accompanied by trembling, screaming and crying. Characters are harder and better for actors. And after seeing it, there is no doubt at all. Language is too polite. Gentle, gentle voice, neither slow nor too small, but weak, kind-hearted otaku who listened to his mother's words, "Please, please." They said; their expressions were too peaceful and peaceful. Smile from start to finish, eyes filled with a little dread of strangers and love for the world; then the soundtrack. In the prelude, the family travels happily, full of expectations for vacation life, the couple is also playing guessing games with great interest, and the picture is quite calm; and the soundtrack at this time - I don't want to recall it - It is simply It's death rock, no melody, and extremely harsh. As for a single shot, there is a shot like this, the blood of the child is gradually on the TV, the F1 car is playing on the TV, and the two commentators are excitedly explaining the exciting scene - this is the formation of human feelings and media. the contrast of indifference. In fact, there is also a contrast between the film's title and its content. "Fun" and "boring" (or "desperate"); "game" and "kill". The third "reverse" is the contrast. In this film, the contrast is reflected in the shaping of the characters. Although the two murderers are very similar in appearance, similar appearance, similar clothing, similar tone, and similar behavior, and may even be brothers, it can still be seen that one of them is weaker and more silent, and the other is more silent. More words and more actions. In addition, the tranquil environment of the lakeside resort also reflects the bloodthirsty behavior of the two men. When I first saw the cast, it was very strange - why would Naomi Watts and big names like Tim and Ross be in a niche, fringe genre like a thriller? What's more, we all know that the victims in the movie never have much room for performance. They only need to show basic doubts, fear, fright, and despair, accompanied by trembling, screaming and crying. Characters are harder and better for actors. And after seeing it, there is no doubt at all. As for a single shot, there is a shot like this, the blood of the child is gradually on the TV, the F1 car is playing on the TV, and the two commentators are excitedly explaining the exciting scene - this is the formation of human feelings and media. the contrast of indifference. In fact, there is also a contrast between the film's title and its content. "Fun" and "boring" (or "desperate"); "game" and "kill". The third "reverse" is the contrast. In this film, the contrast is reflected in the shaping of the characters. Although the two murderers are very similar in appearance, similar appearance, similar clothing, similar tone, and similar behavior, and may even be brothers, it can still be seen that one of them is weaker and more silent, and the other is more silent. More words and more actions. In addition, the tranquil environment of the lakeside resort also reflects the bloodthirsty behavior of the two men. When I first saw the cast, it was very strange - why would Naomi Watts and big names like Tim and Ross be in a niche, fringe genre like a thriller? What's more, we all know that the victims in the movie never have much room for performance. They only need to show basic doubts, fear, fright, and despair, accompanied by trembling, screaming and crying. Characters are harder and better for actors. And after seeing it, there is no doubt at all. As for a single shot, there is a shot like this, the blood of the child is gradually on the TV, the F1 car is playing on the TV, and the two commentators are excitedly explaining the exciting scene - this is the formation of human feelings and media. the contrast of indifference. In fact, there is also a contrast between the film's title and its content. "Fun" and "boring" (or "desperate"); "game" and "kill". The third "reverse" is the contrast. In this film, the contrast is reflected in the shaping of the characters. Although the two murderers are very similar in appearance, similar appearance, similar clothing, similar tone, and similar behavior, and may even be brothers, it can still be seen that one of them is weaker and more silent, and the other is more silent. More words and more actions. In addition, the tranquil environment of the lakeside resort also reflects the bloodthirsty behavior of the two men. When I first saw the cast, it was very strange - why would Naomi Watts and big names like Tim and Ross be in a niche, fringe genre like a thriller? What's more, we all know that the victims in the movie never have much room for performance. They only need to show basic doubts, fear, fright, and despair, accompanied by trembling, screaming and crying. Characters are harder and better for actors. And after seeing it, there is no doubt at all.
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