The most thought-provoking thing is the director’s doomsday layout:
First, for so many years, I have only heard that the old American repelled Mexicans from immigrating to the United States, but this movie went the other way. It has become a relatively safe zone, so the old American who has been arrogant has to taste the bitterness of being rejected. It is separated from the country by Mexico. There is also a small piece of news that seems to be inconspicuous. Let the citizens protect their lives, set foot on Mexico's homeland, and cancel all the foreign debts that Mexico owes. It is so cool to see that the director is ironic, or is it to complain about the squeeze that Mexico has suffered over the years?
Second, a scene in the library: the only material for heating is books. When there is an irreconcilable contradiction between survival and cultural treasures, where does humanity go? Despite the reluctance, the people in the play are still burned up without hesitation. Whether he is Nietzsche or pedophile, it can be seen that culture is a renewable resource?
Third: The inevitable drama still shows the personal heroism as always in the American disaster film. Some people and several people are always brave enough to compete with the president or political figures, and there will always be several politicians who will question them. As a result, these heroes We always have to be arrogant.
These disaster films reflect more that it seems that it is not how terrible the end of the world is, but that there are more human natures. Don't say that the nature is good, nor that the nature is evil. When you put good and evil in front of death, you can say you to the end. What is it, not to mention that there is no established scale for good and evil.
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