Cool in two seconds, Reivew on Brother

Violence and emotion are like two dimensions of a pendulum. It is precisely because of fierce violence that it can use its reactionary force to describe strong emotions. There is very little movement in the whole movie, and each group of violent shots taken in positioning creates a sufficiently objective visual picture system, which seems to put the viewer in the same calm and cold mentality as the big guy, and rather watch the shooting and the bloody scenes calmly. What is more worthy of speculation is the two seconds when the actor stops moving but still keeps the scene before the end of each shot. At first glance, it might be mistaken for the failure of careless post-production. In fact, it is in many of Kitano Takeshi's movies. The style-style cutting technique that appears frequently, it is precisely these two seconds that really make the audience feel the unquestionably coolness of the characters in the film.

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