Under the living environment of the faster pace, people seem to block their nerves, and they only want to fight between eyebrows and eyes. The film "Three Monkeys" has few dialogues, but more abundant is the expressions and eyes between the characters. What the silent image reflects is not the coolness of the world, but a missing acceleration package between people--communication. In the rapid development of material desires, on the contrary, there are lingering films such as the shadow of a cup and a bow and a snake, which seem to be able to directly hit people's hearts and bring the audience a journey of reincarnation. The slow rhythm is the biggest feature of this film. It is different from other crime-type films. The director has carefully designed blank spaces for each character. I can't help but sink my heart and carefully ponder every precious dialogue. What are the meanings. Long shots and close-ups are intertwined throughout to express the subtle inner world of the characters and deepen the authenticity. At the same time, the audience can not help but fall into the ideological struggle, whether this is a regrettable change in a family, or a deformity after the grassroots characters are oppressed by life. The dark tones of yellow-green permeate the entire film, shrouding the manic mania in the characters' restraint. Under such a constant cool color, the dazzling red is extremely abrupt, and it is also an important character symbol of the female character Hancer. In the dark home, the style of the room and the tone complement each other, only a red square pillow is placed in the corner of the sofa. It was Hancer's first intercourse with Red, and she rested her head on the pillow. Judging from the placement position, Hancer is also in the most corner of the house, curled up in his own seat in panic, not daring to move. It is this excessive forbearance, coupled with the fact that her husband is not by his side in prison, that distorts Hancer's tolerance and quietness as a woman. Red, is her roaring roar of fate, a harbinger of the gradual spread of the vermilion mole on her heart, her desire buried so long that it is easy to be seduced and begin to have an affair. From the burgundy apron and the dark red satchel, to the kitsch red suspender pajamas, this also proves that she has allowed the wild to breed again and again, and she is unwilling to fight against the humility of fate, but such confrontation is also wiped out by her. Back to square one when it comes to red nail polish. She wiped away her madness once again, just like reincarnation, going around in circles, she still returned to her original state, still keeping her eyebrows low and pleasing to the eye, still imprisoned in her duty. The choice and arrangement of the scenes have already hinted at the fate of the characters. In the film, the interior scenes account for most of them, while the few exterior scenes are basically long-range scenes, and they are all located at the beginning or end of an event. Two of Insmall's exterior clips show him jumping over a fence and crossing a railroad when he visits his father Eyay in prison. This is his rejoicing in escaping from his own limited and repressed home, so the camera gives a big perspective and an overhead shot, just like watching a wild horse galloping in the vast field. Instead, he bought a car and locked himself in a cramped space again. Like one set following the next, they are linked together to form a story. When he finds out that his mother, Hancer, may be having an affair with the party figure Servet, the picture stays on a knife for a few seconds, and through his eyes and the close-up of the knife, it becomes a prophecy that Insmall will eventually kill Servet. "Silence is better than sound at this time", the whole film is very apt to this sentence. In the silence, one could only hear the other party's rapid breathing, but no one was willing to take the initiative to communicate. This has become the most significant barrier in current life, and the unique language of human beings has become an unusable decoration - except for interests When driven, people have to open their mouths to find the perfect rhetoric for themselves. Just like the ending is that Eyay finds a scapegoat for his son Insmall, just like Servet found himself at the beginning, as if this is a fateful reincarnation, the thunder is loud, the rainstorm is coming, and everything seems to have returned to the beginning of the film. "Silence is better than sound at this time", the whole film is very apt to this sentence. In the silence, one could only hear the other party's rapid breathing, but no one was willing to take the initiative to communicate. This has become the most significant barrier in current life, and the unique language of human beings has become an unusable decoration - except for interests When driven, people have to open their mouths to find the perfect rhetoric for themselves. Just like the ending is that Eyay finds a scapegoat for his son Insmall, just like Servet found himself at the beginning, as if this is a fateful reincarnation, the thunder is loud, the rainstorm is coming, and everything seems to have returned to the beginning of the film. "Silence is better than sound at this time", the whole film is very apt to this sentence. In the silence, one could only hear the other party's rapid breathing, but no one was willing to take the initiative to communicate. This has become the most significant barrier in current life, and the unique language of human beings has become an unusable decoration - except for interests When driven, people have to open their mouths to find the perfect rhetoric for themselves. Just like the ending is that Eyay finds a scapegoat for his son Insmall, just like Servet found himself at the beginning, as if this is a fateful reincarnation, the thunder is loud, the rainstorm is coming, and everything seems to have returned to the beginning of the film.
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