The title of the film: Den skyldige - "The culprit" itself, which contains a tortured reflective proposition based on good and evil and truth - Many times, people are in good motives and self-righteous behavior, but often In the process of behavior, unknowingly fall into the quagmire of sin.
The film revolves around a call for help from a "kidnapped person" received by the police center. On the other side of the phone is a schizophrenic who claims to have been kidnapped by his ex-husband and needs to be "saved" urgently. Ibn the woman. As a result, the narrative advancement of the entire film, as well as the setting of dramatic suspense and unstable factors, revolved around the phone messages between Officer Asger and Ibn, or with other relevant parties, from beginning to end. Moreover, based on the sensitivity of the profession, the protagonist, the police officer Asgar, also completed a self-saving of his soul in the process of providing selfless help and salvation to Ibn.
As Martin Scorsese said: "Cinema is a matter of what's in the frame and what's out" - Martin Scorsese. A person, a phone, in a closed and narrow space scene, the artistic concept of "Less Is More" (Less Is More) believed by minimalism and its meaningful forms, the actual The above is a richer spatial imagination and a dramatic connotation with more narrative tension outside the picture.
The film "The Sinner", a one-man show-style expression, seems to have the same effect as the previous 2010 film "Buried Alive" in terms of narrative construction and formal system, but the unique artistic value of this film is precisely reflected in the difference from other works. This includes not only a more specific and in-depth thinking on social issues at the level of reflective propositions, but also at the film ontology level, the rhythm control of the visible image information in the screen, and the full use of the visual imagination of the dialogue lines. The constructive function of the dramatic information enables the viewer to be in a "visible" state for the invisible information outside the screen from beginning to end, a presumed situation of consciously involved imaginary presence. And, more importantly, the profound cultural accumulation of Danish stage plays has largely contributed to the unique artistic charm of this Danish film.
View more about The Guilty reviews
