The terrorists (fēn) that make up "The Terror (fèn) Son"
Not a movie review. Want to record some intriguing details.
1. Shortly after the opening, in the shot of the teenager, the person who fell to the ground and the person doing laundry alternately appeared. Unexpected events and unremarkable daily life are precisely the objects that the whole film revolves around.
2. The muzzle and the camera are juxtaposed several times in the film. In the confrontation between the boy and the dog, the camera is even directly used as a "weapon" with some kind of threat, reminiscent of Bresson's point of view that "photography is like shooting".
3. The director and the actor Li Lizhong are also people who died of "heart disease", and can even share the comments they received: "He's been a little neurotic recently..." "His life is too monotonous, and once something happens, he won't be able to react. Something went wrong..." "It is said that he had a woman outside and was discovered by his wife... This is just a rumor..."
4. The statue "The Thorn Puller" (how many movies does this statue appear in...), a girl with a leg injury, a small bayonet that the girl hides on her leg after recovery. The vague connection feels interesting.
5. The montage of the cleaners risking to wipe the glass of the building, and the camera turns: the manuscript squares filled in by the writer suffering torment (husband said: "When did writing a novel become such a terrible thing". I remember Ma Yan's sentence again , "I risk my life with every word I write.")
6. There are three types, or stages, of couples in the film: couples that are (seemingly) stable, couples that are forming, couples that are separated but not over (the song on the record, Smoke gets in your eyes, sings "Love When the fire goes out” sentimentality. So I think this episode about the girl’s mother can also be seen as a type of couple’s daily life).
In addition, according to Yang Dechang himself, the inspiration for this film came from the real experience of the girl who played the little sister who was often locked at home by her mother, so she made random calls to others. "She was living in Taipei at the time, she didn't have a job, and her family was a single parent. Her father was supposed to be an American soldier in the Vietnam War, and her mother used to work in a bar, so her background was unique. I sneaked a little bit about her in the movie. Clues of identity, like when her mother smoked, if you look closely, she was using a U.S. Army-issued lighter with the badge of the First Armored Forces on it.”
7. "You name a place and I'll go." Correspondence of two phone conversations. After watching it, I found that the movie was in a blur, and there were too many correspondences secretly buried, like a detective story foreshadowing a thousand miles (Yang Dechang also mentioned "Japanese reasoning" through the heroine's mouth in the movie), which led to the final novel. Intertextuality with dreams.
8. "You bastard, you should send an obituary when you're dead." What a big side Flag, uncle policeman, opened the door and found the obituary was you.
9. Blood-stained hands and washed hands belong to those who hurt others and those who hurt themselves
10. The transmission of eyes in space: the girl looks at the photo, the photo looks at the boy, and the boy looks at the girl.
Yang Dechang's views on space and narrative are very interesting: "I was interested in architecture very early on, and later I learned that design is to meet a need, or to create a function and create a space. This principle can also be used in On screenwriting. Often times the dramatic tension is weak, because a function is not fulfilled, or the screenwriter does not see that function is necessary. After the tension is broken, even a short thing will make the audience feel long. This In fact, it is very similar to architecture, to a designer designing a bridge.”
11. The teenager said to the new girl, "I'm going to take your picture to serve in the army". As soon as the scene of the draft list turned, he went back to find his original girlfriend. There is also no new beginning in life for the "forming couple."
12. The wife shouted when arguing with her husband: "Fiction is a novel, don't you even distinguish between true and false?" - But before the last moment, did she distinguish between dream and reality again? As the audience, can we distinguish between plot and life? So the following scene is really wonderful: the characters move through the wife's dream, in the background of the movie poster, and in the viewer's eye at the same time. He penetrated the triple space.
13. The dream and reality in the play both end in the bathroom. In the bathroom, people have used water to cleanse their bodies, and eventually death to cleanse their minds.
14. Wedding rings. This ring is worn in the scene where the heroine wakes up in the scene and in the scene where she wakes up at the end. So, as to whether she is pregnant or not, and whose children are, it may be a hint that the marriage is not over. She may be about to go to the third type of married couple that has appeared in the film. A new cycle is about to begin.
Therefore, if you want to evaluate this film, it may be the most appropriate to use the words in the film: "It's a very life, but it's very tortuous, and it makes people chill."
It's really cold.
View more about The Terrorizers reviews
