If violence is just the coat of this movie, then the most fundamental force in human nature It is shown here as a desire for rights. Yizang only represents violence itself, which is an extension of the virtue of rights. Director Miike Congshi seems to want to use violence to dissolve violence and use violence to explain rights. It's just that he did it in a hurry. , which also makes the film linger and roar twice at rights while fully showing violence. But we are very happy to find that, for violence, for three delays from history, this film surprises the deepest evil of human nature itself. It is fully demonstrated.
This is a successful attempt by Miike Congshi. Compared with his more famous
, a director who was born in an underground pornographic video, has the face of a gangster and a thorough 's insight. The extreme concern he brings to violence can be seen from the more famous
violence . Violence is the most primitive power. It can be said that "Izang" has collected all the violence of the history of Miike, and it is also the most violent, with the image of the executioner of the possession of the history of Miike. Some of his actions are biased, and it seems that violence for the sake of violence has hindered the revealing of the theme.
For his predecessors, Miike Congshi's violence is still more commercial---taking into account the visual elements, However, I have always thought that Miike Congshi's violent aesthetics is uncertain. In himself, he has not formed a complete stereotype of a strong self-style. He integrates most styles and at the same time weakens the self-style to a certain extent. It is fully embodied, but it is a contradiction, a paradox, and a very interesting case to play his own shadow in this kind of gathering. This is also the source of the surprise of Miike's history.
The killing machine cultivated by the leading class Yizang is unconscious in the process of resisting the right to kill, he is only a symbol, and violence can only bring violence. A detail in the film is very interesting: Yizang is in the When I meet the woman who symbolizes motherhood and desire, the violence turns into sexual desire and spews like a volcano. The camera lens and the art make the picture have a detached and morbid beauty. It reminds me of another embarrassing movie from the history of Miike "Ghost Prostitute" memoirs>, that movie's graphic detail flirtatious to the till, if that
Although we are more than surprise It can be found that Miike Congshi has shaken and regretted, but it is not difficult for us to find that Miike Congshi, who has the dual consideration of business and art and the ability to shuttle between the two, can still bring us more in future movies. The surprise, we look forward to this kind of surprise.
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