I agree, from the very first moment I saw this movie, I knew it was definitely not the kind of adrenalin pumping that would make me feel HIGH.
When I sat and watched the movie in front of the projection, I felt cold all over my body.
To be honest, I was surprised that I actually liked the picture of the murderer when he committed the crime. Whether it is the color, composition, creativity, especially its source and creation method, it is wonderful.
Over the years, I have been a devoted photographer, and my understanding and creativity of composition, color, and photographic subjects have continued to improve and deepen.
From the beginning of knowing how to use the camera, to knowing how to compose pictures, to deliberately creating, and finally to understanding inspiration, from the beginning, I made a film and wanted to show it to others, and finally some films felt that others could not understand, so I became more and more lonely , This process is not experienced by everyone, and I believe that as directors and photographers, their mental journeys are similar.
When I saw the prelude of the title, I was shocked by every picture. To be honest, if it is a photographic artwork, that picture is definitely worth cherishing and pondering. I suddenly had the idea to go to the crime scene to shoot and The inspiration for artistic creation, which has a lot to do with my understanding of the show.
In fact, during the entire viewing process, I didn't care about how to solve the case, the description of the case, and the foreshadowing of the plot. What I care more about was how each piece of the killer's work was created, the theme of each piece, and the plot of each piece. display method.
I had the same feeling when I watched the movie THE CELL. THE CELL showed a more perverted artistic effect. It is not so much a sci-fi and horror movie.
So, when I saw the last scene of the film, I suddenly realized that not all good directors can use the lens to create visual art.
The storytelling of the films made by some directors is actually not as beautiful as in his shots, especially Zhang Yimou's "The whole city is full of big steamed buns". Many people watching the movie only remember the steamed buns on the maid's chest at the beginning of the film. However, he did not look at how Zhang Yimou's scenes were composed, how he used colors, how he advanced the shots, and how he maintained a consistent photographer's level in the editing process of the film from the perspective of a photographer.
I watched his "Golden Armor in the City" four times. Except for the first time, I was watching the storyline, and the other three times were thinking about the composition and the use of colors. Many people dismiss Laomouzi's plot, and I really don't appreciate it. But I really appreciate Laomouzi's visual art level!
Of course, the country is not stupid, so Zhang Yimou was invited to direct the opening ceremony of the Olympic Games. It is a pity that the use of the camera during the broadcast of the opening ceremony of the Olympic Games was extremely unsuccessful. The composition, camera switching and advancement of many scenes were just like the level of smashing the field. Don't talk about it.
OK, back to the topic, judging from the plot of the film, the director put the poor STAN in a situation that no middle-aged man could extricate himself from from the very beginning: fame, promotion to the police rank, and at the same time, let STAN bear the burden He blamed himself and let STAN drift in the process of that prostitute's death again and again.
And the killers in the actual movie seem to have many behaviors that are very nonsensical, from following to being chased, from photos sent to STAN, from SPONSER who is SANDY, it seems that they are all saying to STAN, come on, FIND ME, ARREST ME OR KILL ME!
In particular, every piece of the killer's work is a blatant challenge and leak. In the end, the young police detective CARL used the reflection of the tea jar to decipher it, until CARL arrived at the scene of the crime and killed the killer.
Therefore, I think that the murderer is to be killed from the beginning of existence. This is the DESTINY chosen by the murderer himself. The killer will choose to either kill STAN and find new police prey, or choose the best scene for himself to commit suicide as his ultimate artwork.
Apparently, the murderer chose his own death as the final artwork. STAN's expression of pain in the chair is not real, but is shown as the scene the murderer saw before his death. The last STAN's death expression seen in the murderer's eyes is consistent with the picture he tattooed, which means that the murderer finally saw his final artwork with his own eyes before he died.
Has such a death transitioned the murderer's most perverted artistic level from sensory art to performance art? And you are the ultimate performer and viewer of performance art?
This also explains that from the beginning of the broken egg, to the eagle in the second picture, to the death of the third picture, they are related to each other, that is to say, either STAN ends as the fourth picture, Either end up on their own, or both die in the final artwork.
Therefore, from the perspective of the plot, throughout the whole film, the director did not give any explanation or foreshadowing for the psychological portrayal of the murderer, the motive of the murderer, the nonsense of the murderer and the final SB performance art.
So, why did director HENRY shoot a movie like this?
Anamorph (2007) (as HS Miller)
I Remember You Now... (2005)
Quitters (2005)
Late Watch (2004)
These are all his films as a director, and QUITTERS is pretty good, but he's not screenwriter. All films written and directed by HENRY are poorly evaluated.
Therefore, I watched the film again, and I am more certain that if the director himself is a person who pursues art to the extreme and raises art to a perverted art, then the film will be controlled in terms of composition, color, and atmosphere. , are complete works of art.
Therefore, I came to the conclusion that the director is the real murderer.
He enjoys such a process and enjoys such a work of art. He spends a lot of space to describe the scene of murder and the process of murder, and he extremely enjoys STAN's expression of struggling and dying at the end.
The director skipped the description of the murderer, skipped the description of the plot, skipped everything, just to bring his own understanding of death and artwork to the audience naked!
Just like me, I really like the art scene inside, especially the picture formed by dismembering people, it's beautiful! You can say that I am a pervert, but any extreme pursuit of art will eventually fall into the level of perverted appreciation.
In this regard, Europeans and Americans seem to be poisoned more than we Chinese. Europeans and Americans have no less artistic appreciation and creativity than Japanese people, and even more evil. Have you seen the artwork of CLIVE BARKERS? Great feeling.
As such, the film is less a crime-solving piece than a degenerate work of art.
Whether the murderer actually appears or does not appear has nothing to do with the plot. As long as you appreciate every "art" at the crime scene, then the murderer's wishes will be pervertedly satisfied.
Let the audience fall, this is the ultimate intention of the murderer-director!
What the director has always wanted us to say from our own mouths is: It turns out that death can be art like this!
Movies with similar themes, I thought about it, there are actually quite a few, such as THE CELL, Hannibal, and "Perfume: The Story of a Murderer", which are classics, all of which are extremely perverted.
Hehe, the director has degraded my pursuit of art, who will be next?
You?
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