There are also directors who don't want to follow the same path. They want to tell the audience that what you see is not necessarily the truth. Therefore, starting from Akira Kurosawa, the film narrative has made a new breakthrough. A Rashomon made Akira Kurosawa sneer at home and abroad, and also made the audience discover a new mode of watching movies.
The perfect escape camera tries to present the plot objectively without any dominance.
The couple that appears at the beginning has a ton of footage. Newlyweds, going to Hawaii; from character sculpt settings to multiple close-ups, half-lengths, and full shots. According to the public viewing mode and psychology, they are the protagonists and the victims implied in the film. And what about the Nicks? Having been a soldier and killing people, carrying a knife with you and cutting a sheep is no problem at all.
Some friends complained that the chase scene in this movie was not exciting enough, or even dull. As everyone knows, the director put all his energy into how to break through the limitations of traditional Hollywood narratives. It's not that the murderer is hiding somewhere you don't know it (as in Hitchcock's Psycho), it's the hoax that lets you challenge the camera.
Is it following the camera, or does it seem to have taken back the objective rights?
Stop fooling around with dreams.
Everything is in the hands of the director. Mirror psychology, that is indestructible.
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