Her depiction of the middle and lower classes has won the true biography of the British master Ken Loach: using non-professional actors to show the living environment of the slums, the little girl who is full of foul-mouthed words and scolding her mother is even more shockingly realistic. The introduction of hip-hop music is also quite experienced, and it has a wonderful coincidence with the status of the heroine and even the turning point of fate, which makes the audience realize the inner meaning of the film's name.
The director's preference for animal metaphors reappears. The bound white horse, the fish killed in the river, and the close-up of the strange angle contrast the sensitive changes in the characters' inner emotions. The backlight during dance practice in an empty room, and the blurred lens that can be seen everywhere, are enough to reveal the director's subtle way of dealing with the natural environment and the psychological relationship of the characters.
But in the final analysis, the most worth watching is still the heroine who debuted on the big screen. The blockbuster (true) performance made it easier for me to immerse myself in the cruel and realistic state of existence she was in. I have to mention that in the last half hour of the highlights, she gave full play to her extremely natural and unforgettable acting skills: applying for a showgirl, peeing in the house for revenge, kidnapping the hero's daughter, and finally reconciling with her mother and sister three by dancing hip-hop.
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