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The heaviness of parallel montage records - [Business Card Introduction] A brief introduction to the theme of the film.
Jaylen 2022-11-30 04:01:04
This film is a youth cruel film in the form of a documentary, telling the process of a vicious shooting in an ordinary middle school in the United States and the events of the first few hours. Deception, comparison, exclusion, humiliation, ridicule, these youthful rebellious sins ended on a sunny afternoon under the guns of two teenagers who entered the campus in camouflage. The director uses a large number of long shots to record the behavior of each character on the campus, and the multi-perspective narrative with parallel division of time and space is also full of youthful sense of game in a casual manner. The bright colors and vivid tones keep the film from being tragic and brutal from beginning to end. The moment a normally gentle and honest boy enters the campus with a gun, he is like an adolescent elephant. When provoked, he will destroy everything. Although cruelty is deliberately downplayed, it is still a heavy topic.
Extended Reading
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Willow 2022-04-23 07:02:46
9.5, while maintaining the real time as much as possible, the use of multi-line interspersed provides dimensional possibilities for time, which greatly increases the visibility. Impressive camera movement and scheduling for the longest shot, plus bonuses for the promenade
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Bernard 2022-04-23 07:02:46
In 4.5, Gus Van Sant explained the appearance of the characters in a form similar to a silent film. The background blur and follow-up shots create POV-like simple but extremely disturbing violent impulses without using POV shots. And it forces the audience to pay attention to the narrative subject subjectively and to reduce the "vision" to the greatest extent and resort to "feeling" to perceive movement and surrounding existence, so that the narrative subject can "freely" replace and return.
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[last lines]
Nathan: You're fuckin' sick. Don't do this.
Alex: Eeny, meeny, miny, moe.
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Acadia: Hello.
John McFarland: [startled] Hi.
Acadia: What's wrong?
John McFarland: Nothing.
Acadia: You were crying.
John McFarland: [shrugs] Yeah.
Acadia: Is it something bad?
John McFarland: ...I don't know.
[Acadia kisses John on the cheek]