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In 2001, the movie [Small Island Cry] made the world remember the name Alessandro Amamba, and praised his curious and meticulous thinking. But when people went back and went back to his feature film debut [Death Thesis], they must utter one sentence: "This guy is not a'nouveau riche'." In this first self-written and self-directed film Here, Alessandro has fully demonstrated his outstanding skill in blending the three elements of thrill, horror, and suspense. Alessandro is a mixed-race. His mother is Spanish and his father is Chilean. He has an older brother who is three years older than himself. He was born in Chile, but when he was one year old, he was brought back to live in Madrid, Spain by his family. At first, the life of Alessandro's family was very difficult. They could only live in a caravan. It was not until he was six that the family finally moved into a residential building in the suburbs of Madrid. Alessandro and his brother didn't like to watch TV very much when they were young. Since the age of 15, he has been going to the cinema to watch movies as a pastime. Come to think of it, Hollywood’s classic old film Alessandro must have been watched less, and his love for old movies is also reflected in this [Death Paper]. In a chase scene (Bosque chasing Angela), there is a Posters of [Casablanca] and [Sound of Music] are attached to both sides of the door. In addition to watching movies, he also likes to read and write, and what is even more incredible is that, according to Alessandro's mother, he could easily compose soundtracks with guitar or keyboard at a very young age while writing. Alessandro was later admitted to the School of Science and Information at the Complutense University of Madrid. He once took a course called "Film Writing" at the university, and he was not less troubled by his instructor. What's interesting is that the name of the substitute professor in [Death Thesis] Castro is exactly the same as the name of the teacher in the "Film Writing" class. Alessandro can also be regarded as revenge for himself in the movie. . In terms of learning, Alejandro did not show his talent as a director. After failing many subjects, he decided to give up the boring career of learning theoretical knowledge, so he escaped from the journey of "learning" movies and turned to "learning". Shooting in the embrace of the movie. At the age of 19, he directed and produced a short film in which he personally wrote the script. At the age of 23, he made his debut, which was a blockbuster and dominated the Goya Awards that year. In the following [open your eyes], he once again served as the director, and joined the two leading male characters in his debut novel, Frei Martinez and Eduardo Noriega, plus Penelope Cruz. Created a great miracle in the box office of Spanish movies. Tom Cruise starred in [Vanilla Sky]. A remake of (in which Cruz played the same role). Later, the collaboration with Nicole Kidman [Kojima Cry] made Alessandro gain unprecedented attention and praise in the world. There is such a measurement standard among fans who love suspense films. When a certain director shoots a series of suspenseful masterpieces that are quite brain-burning, and makes them produce such as "Huh, is this film actually directed by him?" "When they feel this way, they often list him as a "exempt director" and spread his name widely, such as Vinci and Nolan. Obviously, three "not simple" works made Alejandro become a member of this "club". A social psychologist who is good at cooking horror scans the plot and characters of [Death Thesis], which is easy to give people the illusion of a "Spanish youth campus horror film". In addition to the unique charm of horror films for the new generation of young people, it is completely understandable that Alessandro, as a fanatical director, imitated it for his own use. But I believe anyone who has watched this film will understand that the director is not reconciled to let [Death Thesis] become a fast-food work that "is particularly refreshing to watch and forgets everything next day". Although the film has Hollywood shadows from the gimmick to the skeleton, but The core is still Alessandro's self-expression, making it more like a "thesis" he wrote about "the hidden dangers of media violence." Alessandro very cleverly used the heroine Angela to show this kind of surging desire. Through this film, he tried to prove our attitude towards horror movies and Angela's treatment of violence sitting behind the camera. The attitude of the images is the same: one set in the mouth, one set in the heart. The opening scene of the movie fully demonstrates Alejandro’s control of the suspenseful atmosphere. In the station, through the broadcast and the staff’s voice-in, the scene of a lying track accident was laid out, and at the same time from Angela’s subjective perspective. To look for the "face" of the accident, and when she stretched her head to the track and was about to see the bloody picture, one hand dragged Angela back into the evacuated crowd. There is no plasma and no fright in this scene, but it is an excellent implantation of fear. And Alessandro’s extraordinary talent is not limited to this. His excellent observation ability is also reflected in some exquisite bridge design, such as Chema and Angela looking at each other in the cafeteria. Unmatched music (Chema listens to rock and Angela listens to classical), the distance between them is so far away, but their interest in violence pulls them together. Another example is when Angela brought a videotape from her dead teacher to watch, she was afraid of the video The content in the belt uses a self-deceptive compromise method: adjust the contrast of the picture to the lowest level, and use only the sound to satisfy your curiosity, but this is like licking the cream on the wrapping paper before eating a cake. It is obviously unsatisfactory to solve gluttony. Angela recorded the voice and played it on the Walkman repeatedly, but the voice of the woman in the video tape was so miserable that she never had the courage to face the scene. However, the hands that pushed her down into the abyss finally appeared-Angela promised to "appreciate" this "death videotape" with him under Chema's soft and hard soaking. The scene when observing at Chema’s house again reflected Alejandro’s delicacy: Angela turned her head over and did not dare to face the picture, but slowly let go of her "reservedness" like a demon. She turned her head. Covering his eyes with his hands, he peeped at the bloody picture on the monitor from between his fingers. This little detail peeked through the fingers will surely make many people smile. This action accurately reproduces the relationship between man and desire, which is a wonderful stroke. As stated in the [Death Paper], people fear the visual aggression caused by violence on the one hand, but on the other hand they can’t restrain their inner desire to pry into violence. In video recordings full of violence, ordinary people fill in It is Freud’s so-called "death instinct" that allows this desire for destruction and violence against oneself or the outside world to be vented through visual experience, just like the lecture given by the professor named Castro. He believes that in order to beat Hollywood movies locally, he must insist on shooting "what the audience wants to see", but in the end he chose not to direct the tube to realize his blueprint, but to go to the other extreme. Make a cocoon with tribute and break the pupa with a sharp pupa. Alessandro’s tribute to classic Hollywood movies is far more than the aforementioned [Casablanca] and [Sound of Music]. There are many in the house full of death in Chemana. The “things” that can make people’s eyes bright, there are pictures of “alien” posted on the door of his bedroom, and pictures of “Frankenstein” hung on the wall. As for the [third person] that Chema is talking about, it seems to be right. Heralds the direction of the story. From the content point of view, [Death Paper] is reminiscent of Wes Craven’s [Screaming Scream]. It is also a campus mystery, also a perverted killer, and also has a plot and ending with hundreds of thousands of twists and turns. Coincidentally, the two also debuted in 1996, setting off a new wave of terror in the United States and Europe respectively. In addition, some people compare [8mm] starring Nicholas Cage with [Death Thesis], but in addition to the "Snuff Killing Movie (Snuff The metaphor of, his outstanding appearance and charming temperament can make Angela become obsessed in the process of getting along with him. It’s worth mentioning that Bosque’s debut was also presented from Angela’s subjective perspective. Alessandro used the same lens as the movie’s opening train station Angela’s search for the sleeper. It was slow and nervous, suggesting Bo The temptation of Sk is similar to violence. Angela can't hold on to Bosque's charm. Even if it is full of danger, even if all the evidence points to him, she can actually justify it regardless, irrational, and her brain is dominated by her emotions. Alessandro uses Angela's difficult rejection of Bosque to metaphor the audience's futile resistance to film and television violence. Like many young directors, Alessandro wrote passion and publicity in his debut novel. He portrayed the professors of the "School of Mass Communication" as utilitarian "businessmen"; mocked as a media with unscrupulous ratings; and In the end, he challenged the audience in front of the camera-this is what Haneke did in the movie when he was 55 years old, and Alessandro dared to do it when he was 23 years old. He borrowed from a horror The film is expressed in a punk way. At the end of the [Death Paper], the patients in the hospital stared at the news broadcast on the monitor, waiting for the "big broadcast" of the violent video. Here, the patient is a very interesting setting. Even at the last moment of the film, the director did not forget to make a bad joke and teased the common warning words in the video tape. Taboos and transgressions, this deadlock that has accompanied the development of human civilization for thousands of years, was offered by Alessandro with his hands with a hippie smile. Published in the July 2014 issue of "Watching Movies Midnight Show" The metaphor of, his outstanding appearance and charming temperament can make Angela become obsessed in the process of getting along with him. It’s worth mentioning that Bosque’s debut was also presented from Angela’s subjective perspective. Alessandro used the same lens as the movie’s opening train station Angela’s search for the sleeper. It was slow and nervous, suggesting Bo The temptation of Sk is similar to violence. Angela can't hold on to Bosque's charm. Even if it is full of danger, even if all the evidence points to him, she can actually justify it regardless, irrational, and her brain is dominated by her emotions. Alessandro uses Angela's difficult rejection of Bosque to metaphor the audience's futile resistance to film and television violence. Like many young directors, Alessandro wrote passion and publicity in his debut novel. He portrayed the professors of the "School of Mass Communication" as utilitarian "businessmen"; mocked as a media with unscrupulous ratings; and In the end, he challenged the audience in front of the camera-this is what Haneke did in the movie when he was 55 years old, and Alessandro dared to do it when he was 23 years old. He borrowed from a horror The film is expressed in a punk way. At the end of the [Death Paper], the patients in the hospital stared at the news broadcast on the monitor, waiting for the "big broadcast" of the violent video. Here, the patient is a very interesting setting. Even at the last moment of the film, the director did not forget to make a bad joke and teased the common warning words in the video tape. Taboos and transgressions, this deadlock that has accompanied the development of human civilization for thousands of years, was offered by Alessandro with his hands with a hippie smile. Published in the July 2014 issue of "Watching Movies Midnight Show" Dro dared to do this when he was 23, and he expressed it in a punk way through a horror film. At the end of the [Death Paper], the patients in the hospital stared at the news broadcast on the monitor, waiting for the "big broadcast" of the violent video. Here, the patient is a very interesting setting. Even at the last moment of the film, the director did not forget to make a bad joke and teased the common warning words in the video tape. Taboos and transgressions, this deadlock that has accompanied the development of human civilization for thousands of years, was offered by Alessandro with his hands with a hippie smile. Published in the July 2014 issue of "Watching Movies Midnight Show" Dro dared to do this when he was 23, and he expressed it in a punk way through a horror film. At the end of the [Death Paper], the patients in the hospital stared at the news broadcast on the monitor, waiting for the "big broadcast" of the violent video. Here, the patient is a very interesting setting. Even at the last moment of the film, the director did not forget to make a bad joke and teased the common warning words in the video tape. Taboos and transgressions, this deadlock that has accompanied the development of human civilization for thousands of years, was offered by Alessandro with his hands with a hippie smile. Published in the July 2014 issue of "Watching Movies Midnight Show"
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