She came from the abyss of hell, for revenge and for self-salvation.
The final death is not an act of despair, but a kind of unhesitating seeking for benevolence, because she died desperately at the moment when she lost her lover. The happiness of gaining and losing is the most grueling. Beware that she is dead, how and how can she survive. This self-destructive personality has been manifested from the beginning, whether it is the tattoo of the ronin warrior or forcing oneself to listen to a forensic autopsy report, which is more cryptic than an attempted suicide. I don’t know if it’s the director’s personal style or the German style. The pictures are cold and rigorous, and the characters on the stage are very limited. The absolute protagonist of the story is the heroine. The people are all clear and strict, so that everyone’s position is clear at a glance. . For example, the defense lawyer is an abominable white middle-aged man who is aggressive and aggressive in the debate; the prosecution is a young man of Mediterranean descent, excited and decent; the judge is a vague middle-aged man, unsmiling. The heavy social topic is limited by the director to a personal revenge story that makes people feel empathetic. The standpoint is very clear and cannot be refuted. The final self-reconciliation is the climax of the film. That kind of peace is really rare. There is no more anger and self-blame, only the peace of fate.
View more about In the Fade reviews
