Master Shao Mujun has summed up the movie in this way, saying that there are only two kinds of movies from the invention to the present. One is the real movie that originated from Lumiere, and some parts of the real world are divided and transferred to the image world; the other This is a fictional film originating from Méliès, that is, exaggerating some real elements with fictional images to build a half-real world. Although entering the new century, the imaging technology makes these two films appear more 'real' in the eyes of the audience, but if we can look at it with a more delicate eye, "Leviathan" undoubtedly belongs to a real real film. The mountains, rivers and shipwrecks, churches and factories inside all have the soul of the movie as the power of real images.
The political ideas that the film wants to express is fully embodied in a fine structure, and there are many places in the text that can be analyzed: from Roma at the bottom to father in the middle to lawyer at the upper class, the relationship of the characters shows oppression The intertwining of the oppressed and the oppressed; the neglect of women’s independence arising from political pressure; the distortion of contemporary religion in post-capitalist society, etc., etc., but it is not enough to analyze these texts and the ideas behind them. What depicts the greatest charm of this film is that "Leviathan" is an art in the form of a film. The reason why his beauty can be embodied in a concentrated manner lies in the sense of reality in it. Movies are a kind of artwork, and artworks are The relationship with reality mainly exists in three aspects, namely emotion, form, and thought. Without the emotion sent out by the creator's observation of reality, it is impossible to create a form suitable for this emotion, and a form without emotion cannot be created. A newsreel can use its own logic and coherence to convey all the thoughts in the world, so that the recipient can well accept the ideas behind it, but in order to get the audience's tears and smiles, a newsreel has to add an emotional form. Tolstoy once said that all artistic creation comes from the artist's most sincere observation of life and the most sincere desire to express. "Leviathan" did it. As a work of art, he did not directly put his thoughts on the lines and characters. Or on the video (no surreal, no off-screen reference text), but silently and subtly show everything in real life, or on the wall in the background, or in the glass window of the police station, or drinking in the traffic police. In the details of driving, what we see is not a reconstruction of "image-life", but a supplement to the various corners of the real life around us. That is to say, the pictures that move us are not from Because of the power of the image or the imaginary technique, it all comes from our own life, and there is no insurmountable screen distance between us and the characters, because they in the image are experiencing the same environment as we are off the screen. Life, when the movie becomes the image slice of the real world, we only realize the similarity between our real life and the image when we are emotionally touched by the fate of the characters in the movie. The thinking and understanding of the thoughts behind emotions, in other words, through real emotions and forms, "Leviathan" as a film art uses the purest mode to intersect with the audience's emotions, affecting the audience's thoughts and intending to convey to the audience. Thought films are as numerous as stars, but as a film art, it is either biased towards newsreels or confined to the creator's own emotions. Unlike these films, Leviathan's
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