Compared with extreme sports-themed feature films such as Extreme Thieves, the film, as a documentary, aims to provide an omniscient perspective, rather than being content with a closed and self-sufficient screen world, tearing off the veil of extreme sports mysticism (for example, the final Shen Teng of Flying Life). inexplicably driving a car into a cliff), exposing the camera and the team behind it, and drawing characters into a complex web of allegation—boyfriends, sons, friends, celebrities who tried rock climbing for profit, actors in the film. Even though Alex is more inclined to get the meaning of life in his closed relationship with nature - to get the most abundant moment of life will in rock climbing, a sense of transcendence, he uses the most rational training method to do irrational things. So of course he doesn't need to be filmed. Therefore, the recording process of the film just exposes a kind of voyeuristic nature of the film. People reach the unexplored places through the photographic images - cliffs, private life, inner emotions and experiences. The viewer also naturally gets a huge pleasure from it. This paradoxical exposure makes it a meta-movie. The film maintains the distance between the camera and the characters in a very respectful way, never infringing or even stopping filming. There is no subjective view of looking down at the abyss from a cliff (Alex doesn't carry a camera) - often dizzying and frightening, a common tactic used to climb the tops of skyscrapers for internet celebrities' eyeballs - entirely in the service of the viewer's visual fantasy .
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