From Apocalypse Now to Silence, reflection on the white world goes one step further. Lao Ma yyds, always has solid skills and is full of just-right artistic "idle brush", which is shockingly accurate, the silence shows that Lao Ma is really relatable and playable, the first half of the movie is hard to tell from the audio-visual style ( It may also be that I am not powdery enough). I really didn't expect to be able to shoot until the protagonist's discolored corpse lay in a bucket and then was carried away quietly, damn it. In the end, I left the two characters Liam and Garfield to write back a little bit, and they didn't follow a path to the end. It's great. In my opinion, this is what ideal art should do. But really, Liam's "our lord" and Garfield's temporary reinstatement were enough, that last shot was really superfluous... I really wanted to delete it. Without the intervention of the producers, I might have chosen to keep the character of Yoshijiro alive, a weedy East Asian commoner. It’s arrogant to say this, but since I’ve been in the philosophy department, it’s hard to take the speculation in most movies seriously, especially when a direct debate scene like Silence appears, I will subconsciously reject it—“Oh, nothing more than It's just some leftovers that have been discussed in academia for a long time." This is actually out of self-loathing. No matter what identity I identify with (for example, the "movie lover" identity here), I can find an angle to degrade this identity to achieve self-depreciation.
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