As Bazin emphasized, realism is the trend of film language evolution, and the director should stand behind the scenes and fully hand over the choice of viewpoint to the audience through long shots. The tough, rough and realistic shooting style in "A Fool in a Dangerous Building" is matched with decadent dark tones. The fate of the male protagonist is like his breathing in the cold weather, wrapping every one of us to participate in it, and the undercurrent of reality is in the Surging, full of sense of substitution.
Different from the excellent realistic themes in Korea, there is no sensationalism at the end of the film. The director just threw the plot here, not seeking to resonate with accusations, but to express it. In this Russian-style self-black drama, the black absurdity is stronger, the irony is simpler and cruder, and the typology trend is more obvious. If the jury made "Forrest Gump" win "The Shawshank Redemption" because of encouraging rightist values, then here, a person who is not a fool, doing a heroic act, escaped from the dead to save people, and then greeted What came was the beatings of the world, the complexity and hypocrisy of the world were vividly expressed in this way, and the good and evil of human nature deserve to be tortured.
Perhaps, the end of the film is depressing, a black-and-white critical reality film, and it should not only be the building that is rotten. On the snow, in the overhead shot, the male protagonist who singled out the government to save lives is beaten to the ground until the end of the film. The building has not collapsed, but it has collapsed, but who is "the fool"?
Conscience has never been against corruption and ignorance, and heroes are trampled underfoot. The whole world is turbid and I am alone, and everyone is drunk and I am alone.
As in this dialogue in the film:
Martha says "they're nobody to us"
Jimma says "We live like pigs together and die like pigs just because we're nobody to each other."
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