In the work of Spanish director Nacho Vigarondo, we see all kinds of eccentric, hybrid twists. 2007's "Time and Space Crime" is one of the best time travel movies, with few characters to wrap the timeline into a ball of yarn; 2011's "Alien" will be the classic background of alien invasion , and minimalist romantic comedies are the main meal; 2014's "Pop-up" is a courageous experimental film that spends the whole time playing on the computer desktop.
We might even say that these flowers are the essence of Nacho Vigarondo's films. "Crosso Behemoth" has a higher coffee position and better special effects, but it is essentially the same as the director's usual thinking and method, and dares to blur the line between the absurd and the real.
What brewed the existence of the "monster" in the human heart? In "Crosso Behemoth," Nacho Vigalondo visualizes this emotional image, thereby avoiding the audience's preconceived thinking habits. While the film's "behemoth" is wreaking havoc in South Korea, this element is only a fraction of the film's, and its physical presence is a clear metaphor for those terrifying monsters capable of causing equally catastrophic damage.
Monsters are humans themselves.
View more about Colossal reviews
