The trilogy pieced together a huge story line, but only the first one can be regarded as telling a complete story, and the next two sequels seem to be filling in the gaps, and the new plots introduced have not been linked to the first one. The plot part is heavy. If the first part is a story with two male protagonists, the third part actually has one male and two males. In this one, Andy Lau is the real protagonist. Liu Jianming was completely stunned, which reminded people of Nolan's 2002 movie "Insomnia" (which was also a less successful work). This kind of story is indeed difficult to tell well, only by adding some special effects to editing. This is part of the reason for the confusion in editing. Another reason is that the director's ambition is too big. The clues of the third part are too complicated. There are five character lines × two timelines, and none of the lines have been allocated a suitable time. This is the reason for the confusion in editing from a macro perspective. There are also problems with editing on a micro level, but I don't know the specific reasons. This sequel fits the title very well. Liu Jianming finally fell into his own hell because of his uneasy conscience. He struggled with his desire to be a good person and the sin of being an undercover gangster for many years. Finally, by imagining himself as Chen Yongren Escape from reality and imagine Yang Jianrong as himself. When his brain was damaged and he could only survive in a nursing home, his first and most unforgivable sin finally appeared, and he started to torture himself like an endless hell all over again. The final scene of the film returns to the beginning of the first film, and everything recycles, and the trilogy forms a closed "Infernal Affairs". Tony Leung is a godlike actor, while Andy Lau is too often underestimated. Chen Daoming's lines are very strong, but why does it sound like he is reciting? Silly Qiang is definitely the most affectionate and righteous person in the trilogy.
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