"The Killing of a Sacred Deer" (The Killing of a Sacred Deer) film has a dark prologue, with a calm and dark background music by Franz Schubert's "Stabat Mater", suddenly inserted into the full screen and bloody In the dissected heart, the camera slowly zooms out to show the process of heart surgery. The shock of the picture directly provokes the audience's senses and patience; but at the same time, the sacred music is mixed with bloody images, but it surprisingly presents a kind of morbid aesthetics that is almost sacred and harmonious. Director Yago. Yorgos Lanthimos has drawn a preview of the intestines in the first act, a disturbing film about "anatomy of the human heart": in the opening moment, the optic nerve of the audience is dissected by the dissection of the heart, and then the dissection of the viewer's optic nerve is carried out. The seemingly normal and beautiful family and the seemingly ordinary and empty characters, layer by layer, cut open their inner darkness one by one, and at the same time cut open the audience's emotional senses.
Director Yago. Lanthimos is better known to Hong Kong audiences for the previous work "The Lobster". From the poster design to the movie story, the style is weird and absurd, and the chilling impression is unforgettable at first glance. Come to "Sacred Deer Hunt" to a higher level. The story is based on Greek mythology. At the outbreak of the Trojan War, the Mycenaean king Agamemnon hunted and sacrificed to Artemis, the goddess of hunting. Artemis)'s holy deer, more arrogant than God, and thus offended Artemis, in a fit of anger, the goddess controlled the wind and waves to trap King Agamemnon's fleet, preventing it from going to Troy; King Agamemnon sacrificed his daughter Iphigenia as a sacrifice. In "Sacred Deer Hunt", Accor. Lanthimos recreated Greek tragedy, mixing biblical and occult elements, and a large number of image symbols and metaphors brought contemporary cautionary mythological sequels.
The bloody shocking scene at the beginning of the movie, with the surgical gown and gloves of the male surgeon Steven (Colin Farrell) taking off, his blood-stained hands instantly returned to white, but the scene eerily stayed in the blood in the trash can. The robe and gloves are a metaphor for the contemporary Agamemnon King Steven, who hides his bloody hands due to medical errors. Can he be so easily washed away? Or is it like a blood debt in mythology or should it be paid in blood? The director skillfully controlled the film's tension and challenged the audience's patience. After the terrifying scene of dissecting the heart in the prelude 2 minutes, the 45-minute progress in the first half was inexplicably peaceful, except for Steven's "Happy Family". The mysterious key boy Martin (played by Barry Keoghan), but the director deliberately does not explain the relationship between the characters, and the character's smile and blunt and weird dialogue have a strong sense of alienation, plus a lot of sexual cues, attracting the audience to follow the play. The characters are caught in a confusing and unsettling puzzle. In the second half, although the relationship between the characters is gradually deconstructed, the director also constructs another supernatural mystery, leading the audience from anxiety to unknown fear.
"One is paralyzed, two is inappetence, three are bleeding eyes, four are dead", the mouth comes from the curse of the strange boy next door, Martin, to Steven's family. This dark force that cannot be cured by medicine and cannot be explained by science is eroding Steven's "happy family". The curse was gradually fulfilled, making the seemingly peaceful and loving families become secret and betrayal from each other, and the remaining dead ends distorted the humanity of the close relatives; in the end, Steven had to atone for his sins, and he had no choice but to sacrifice one of the family members as a sacrifice, blood for blood. The super absurd ritual ends with Bach, JS's "St John Passion".
Director Yago. In addition to the bizarre story and style of Lanthimos, he also makes good use of the contradiction between sound and picture to create a deep-seated unease: the bloody scene at the beginning uses "Jesus Christus schwebt am Hovering on the Cross" in the "Lament of Our Lady". Kreuze) with a sacred song, ending with "John Passion" singing "Lord, Our Ruler" (Herr unser Herrscher); occasionally in the slow motion or literary drama, the film is faintly sharp in the very calm and normal scenes. The piercing sound effects or the percussion of the mountain rain; I especially like the part of Steven's first love daughter singing Raffey Cassidy "Burn", which is like a brainwashing song: Cause we got the fire, fire, fire…We're gonna let it burn , burn, burn, burn…We're gonna let it burn, burn, burn, burn…The tension caused by that contradiction is chilling and delightful.
"Sacred Deer Hunt" is the kind of movie that you may not be able to understand, but you are inexplicably attracted; the director also does not expect you to fully understand, like the boy Martin at the core of the movie, whether he is a god or a demon or an evil or a righteous, The director did not deliberately explain or discuss how to possess that evil curse power; there are many mysterious phenomena that cannot be explained outside of scientific civilization, and there are many behavioral reactions that people cannot understand outside of rationality. The movie opens with a metaphor that surgeon Steven has dissected countless hearts. Through medical anatomy and surgery, he can treat the disease of the "heart", but his own "heart disease" can't be cured by himself. Everyone in the "happy family" has his own "heart disease". Heart disease", each of them is deceitful. Through the absurd characters of Greek tragedy, the director highlights the sinfulness and distortion of human beings. The seemingly normal and beautiful life under the sun always has more or less dark secrets.
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