For nearly 150 minutes, there is not a single mirror or frame without aesthetics - such as the Monet-style country road in the rain, the tortured and dying faces like the brushstrokes of the Carava Bridge. There is no three-segment structure. There is no "vast victim in the midst of the abyss", or even some specific daunting task, known to be the ultimate victory, yet the film's timeline ends on the date of the characters' death - how did they, commit suicide, be killed, "this Die one day without running" - no countdown or comparison of peace after that day. Respect to simplicity. However, there is a sense of oppression throughout. There is no clear line between good and evil, and the execution of traitors is not very pleasing, and the execution of traitors is brutally shot at the executioner at the same time; a brave warrior with armor is also a selfless mother who exposes his weaknesses. The delimma who has nowhere to escape between life and death; the panic and panic that ran all the way out of the prison is the epitome of the panic-stricken moment that everyone experiences. Only in this way, the respect for that struggle, which is always ready to self-determination, is like the piercing cry of mourning, which tightly entangles all beings. Only in this way, the coats and tolls that are calmly handed to the fugitives under the portrait of the head of state are a glimmer of light that cannot be extinguished in the inescapable weakness of the world. The story of good and evil, white and black is smooth, exciting and eye-catching. However, inquiring about the extremes of human nature with compassion in every corner seems to be able to better describe how the souls of the world have been destroyed and how they have tried their best to be tough under the dictatorship of war and all the sins.
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