At the beginning of the film, the camera falls into the trenches, and the voice-over leads us to know the five soldiers one by one. The picture keeps flashing back and explaining their backgrounds. Colors are constantly changing, and we are also free to shuttle between everyone's past and reality. This memory shows the background relationship of five people like a list. Each person's experience of self-harm is different, but the result of being sentenced to death adds to the dark battlefield and brings a heavy sense of oppression. Only then do we realize that the "reality" on the battlefield in the title sequence is nothing but a memory or the reality in the mind of the recaller. It is not clear which is the real reality. Time is blurred and dissolved here. There is no distinction between memory and reality. There are only two colors before and after the war. It doesn't matter. Because what is needed is the feeling of retelling and retelling that is pulled by emotions. We follow Mathil's search to unearth the truth of the facts, "using the reliable parts of the memory and the fictional elements that feel real, and linking them into a seemingly complete memory." It is not until the last moment that the historical reality can be stitched together. This vague sense of time, the difference between the two colors creates the atmosphere of the film, depicts a sense of realism, and makes the emotion of the film appear delicate and romantic.
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