Some viewers may feel that the beginning of the film is slow and incomprehensible. In fact, this is an essential foreshadowing: Lucas plays with the children and helps the boy wipe his butt, highlighting that he is a kind and good husband; the dispute with his ex-wife , And showed that he was in trouble; Clara was ignored by her parents and brother at home, which laid the groundwork for her to seek other feelings and fantasies; Lucas sending Clara home is the only unburdened and warm scene in the film. It is not only a necessity for the development of the plot, but also the last ray of sunshine before the storm.
After the layout was completed, the conflict broke out. The director no longer gave the audience a chance to breathe. Under the warm and lively scenes, the audience's worries are constantly accumulating. These scenes are often slow in pace, which is to fill every nerve ending of the audience with the heartbreaking chill. It is easy to look forward to the outbreak or release of the conflict, but it makes the audience breathe a sigh of relief. However, the audience will soon find themselves in a cycle of accumulating worry (or suddenly breaking out) again. There were not many fierce quarrels and violence in this process, but it was like the winter in Northern Europe in the film, which filled the audience with an endless, head-to-toe icy feeling. As for the ending, it revealed the eternal destiny of the protagonist, father and son, and it was even more bitingly cold. The children here are no longer innocent, social trust, friends, and love are all broken with one blow, and they have to hurt their poor son who has a broken family. Just when everything seemed to be getting better, just a few words after the father and son’s tender dialogue, the stone that broke through the window shattered the audience’s final fantasy of so-called social justice. Therefore, the most abusive moment in the whole film was not the beating in the supermarket, nor the roar in the church, nor the last shot (with broken window stones, how can one miss a shot), but thrown out by a large group of friends and relatives in the past. The son of the door. That man's tall, indifferent and narrow face was horribly vivid in the elevation shot from the angle of his son's fall.
Such an incomprehensible movie, the chill brought to the audience will not disappear with the end of the movie.
The director of the film, Winterberg, is one of the initiators of the Dogme 95 movement. In short, Dogme 95 is to circumvent all the technical methods of the film to pursue pure realism, but it is not a documentary. This film complies with part of Dogme's regulations, such as handheld photography, very few soundtracks, natural light, non-genre films, etc. The most important thing is that it shoots an event that is likely to happen in reality. And many of the lens language in this film is more like the hands of a master who can tell a story, such as the elevation of the son mentioned above, such as the symbolic meaning of the depressed Lucas surrounded by noisy children, and the interspersed film The hunting scene in the movie – symbolizing that Lucas, like an unsuspecting deer, has become the prey of an ignorant and cruel society. Prey has never had the right to argue against false accusations. Another example is the church on Christmas Eve. The collective singing of hymns is an act of conformity close to the unconscious, which can be used as an analogy to the unconscious prejudice of the male protagonist. But these dramatic techniques serve the themes that reflect social reality.
The actor Mads Mikkelsen's face is very suitable for acting a pervert, and later he became famous all over the world for the image of Hannibal. But he came to play a good guy who was wronged and turned into a pervert, that can only be said to join the Mu Sanfen. Cannes actor, well deserved.
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