Last night, while enjoying the premiere of this year's controversial work, some audience members fainted due to discomfort. After that, many audience members left the stage one after another. On the one hand, it proves that the psychological endurance of foreign audiences is not as strong as imagined, and on the other hand, it also seems to confirm that The audio-visual style of director Luca Guadagnino to create a terrifying atmosphere is quite effective. The original version of this film comes from a "giallo" filmed by Italian cult master Dario Argento in the 1970s. The film had a lot of impact. When Luca Guadagnino remakes this classic, he did not follow the rules to reproduce and restore, but chose to add clues and characters on the original basis, which made the story plump and profound, and also integrated into many Hollywood Thriller-type plots (such as the revealing of the heroine's identity and the final easter egg) further demonstrate the director's commercial ambitions. The hijacking incident planned by the extremist organization provides a sufficient background for the new version of the story, and the bizarre disappearance of the students in the dance academy before seems to have the possibility of interpretation with this special background, although the audience found in the second half of the story. It's just a common trick in commercial genre films. However, the way the entire college follows a democratic voting mechanism to determine leaders and various mysterious witch sacrifice rituals make the narrative text difficult to conceal political metaphors, not to mention the transfer of the original story from the United States to post-World War II Germany. The intentions of the director and screenwriter seem to be obvious. Not only can we see the director's expressive ambitions from the plot and characters, but he seems to have extended more self-style expressions through the original story framework. The embodiment of this author's style is in the creation of a terrifying atmosphere. The most obvious thing is the dance scene of the girl. The beautiful and well-choreographed dance is closely connected with the horror and strange murder and sacrifice event, especially the first scene of the heroine. The degree of horror of the dance is the most eye-catching (the specific details are inconvenient to disclose, and the full release can be seen when it is fully released), which should be the culprit of fainting the audience at the scene. The more intense audio-visual effect is the presentation of every nightmare of the heroine. The bizarre imagery is superimposed by the fast and slow screen/sound editing, superimposing a sense of surprise and horror. And Thom Yorke's score even more subconsciously materializes these horrors, continuing to the final climactic dance scene. All of these authoritative audiovisual presentations are not self-admiring displays, but are rather effectively integrated into the narrative, constantly propelling the plot in a predictable direction. The director has made a perfect balance between maintaining his own style and using commercial elements. For viewers who have not seen the old version, the story is not obscure and difficult to understand. For fans who are familiar with the director's previous works, the label in this work is not difficult to understand. still clearly visible. Although there are still many logical problems and unexplained plots in the whole story, these details are obviously Hollywood's way of planning sequel movies. From this speculation, the director and creative team will make up more tricks in future sequels to continue to attract new audiences. This is also an unexpected rebirth of a classic horror film in the 21st century!
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