Old people who are over seventy must like to be nostalgic, and also like to remember the beauty of the beautiful times. For example, this new work by Master Haneke has great similarities with "Hidden Camera" more than ten years ago in terms of image style and discussion theme (middle class, refugee topics), plus the contrast in the plot. The parody and insinuation of his own classic "Love" seems to be a self-summary work. The brightest point is still to use the medium (mobile phone video) as an entry point to uncover the dirty secrets under the bright appearance of middle-class families. The video clips at the beginning and end are the most accurate, and the texture of the low-pixel picture undoubtedly brings the drama closer. The distance between the fictional characters and the real world, the viewpoint of the videographer is imaginative, like the mysterious photographer of the anonymous videotape in "Hidden Camera". However, there is not much freshness in this story, and the hypocrisy and dark side of the middle class are estimated to have been seen too much. Or perhaps it is the relationship between family portraits, the plot is more trivial, and there is no obvious main line running through it. Each character line has not been fully developed, and the character image is relatively hasty, or it is set with a concept first, which greatly reduces the credibility and resonance. Similar themes come first in some of Haneke’s label-style long-shot schedules, where the form and narrative are isolated and separated from each other. For example, in the scene where the son is beaten at the door of the victim's house, the cold and violent display has little to do with the subsequent plot, which only makes people suspect that the director is only showing the style. In another scene of an old man running away from home in a wheelchair and encountering a black man on the street, a similar method was used to erase the content of each other's dialogue. Part reappears. Although film masters are still deeply concerned about the current social hot issues, and are trying to develop the expressive power of images through new methods, it is difficult to highlight the crux of social problems in the narrative law of patchwork plots. family life and real social problems are forever like two parallel lines that seem to come together occasionally, only to find out that they are not.
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