The directors of both countries dance with shackles, express their ideas within the scope of the rules, and complete their own works. The difference is that the shackles of Chinese directors are the General Directorate of Guangxi, and the shackles of Korean directors are the market.
Like the director's other work, there are too many market elements piled up in this film, not to mention a lot of classic bridges, but also a lot of fashion elements. It makes the whole movie have a strong sense of fragmentation, such as tattoos, such as blood on the knife, such as the picture of the mother committing suicide, and the awesome projector, the villain's mouthful of English, and the voice change of the clown's usual supporting role in Korea. Ruthless killer wait and so on. It can be said that using these materials, you can edit a five-minute splendid trailer without any effort.
But the plot of the whole movie is really out of touch. . . The various sections are too bluntly joined together, showing that the director's level cannot control his own ambitions. . . .
However, just those long shots of Zhang Dongjian, I think it is worth watching, because he is indeed a good actor, good at this kind of perplexity, stubborn silence, and outburst.
If this film is edited better and more compact, the plot transition will be more natural. It's a very good film.
At least what the director hopes to express is that a lost person needs confession, comfort, and a way back. . . I feel this.
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