The relationship between images and reality is also a game relationship. The audience can choose to be a participant in the game, stay out of it, or watch how the game develops.
I said Haneke really made a "horror movie" and yet it was the least shuddering of his films. The evil of the bystander has become a syndrome of middle-class people who are addicted to self-acting. In this way, the contrast between images and reality is very interesting, and a provocation to the power relationship between "seeing" and "being seen" is extracted.
Now that misfortune has happened to you, there is no need to deliberately look down on the "enemy" in a Christian colonial style, and try to make up for the source of violence and evil. The irony of history and religion is also extremely sharp.
On the audio-visual level, the enclosed space and the fixed camera perform well, and the sudden heavy metal elements follow the elegant classical music, which highly summarizes the same song called "game" with the contrast of the music, and the form is very different.
There seems to be an irreconcilable contradiction between violence and non-violence, which cannot be communicated. Just like images and reality, "seeing" and "being seen", what is ultimately difficult to be dispelled by gameplay is the preconceived notions of morality and dignity.
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