"The Sinner" is a very different kind of movie.
The film begins with an operator answering an alarm call. The first minute of the film is always a close-up of the operator's face in the shadow and a close-up of the earphone. A little red light flashes on the round earphone shell, plus the male protagonist's deep and capable question and answer. , easily introducing the audience into a tense atmosphere. Then, the camera pulled away, and the male protagonist sat calmly at the workstation, answered the phone, made records, checked data, dialed the phone, hung up the phone, answered the phone again, and made records... In this way, the audience seems to be sitting in the alarm center A certain citizen who was waiting for his errands quietly watched the police officer busy until he got off work and the movie ended.
However, during nearly an hour and a half of seemingly unremarkable "talking to himself" - most of the time, only the hero is in the picture - there is a horrific murder and kidnapping case: the suspect brutally He killed his 2-year-old son and kidnapped his wife with a knife. At home (also the scene of the murder of the younger son), there is a 6-year-old and three-month-old daughter at home alone. The next tragedy was about to be staged, and the fearful and curious audience waited, only to see the male protagonist wandering around in two or three rooms by himself, picking up his mobile phone and putting down the phone, mobilizing all kinds of people to chase and intercept, and rushed to the scene. Except for the occasional red signal light, there is not even the slightest bit of blood in the picture, and all the terrifying pictures are left to the imagination of the audience. In this way, the director's daring and ambition to deal with a thrilling and suspenseful police and bandit movie is not too big.
Such directors would never allow their films to fall into stereotypes that audiences are already familiar with. Sure enough, the story turns around towards the end. The "kidnapped" wife is the culprit who killed the young son, while the "kidnapper" husband wants to save his mentally ill wife and a pair of young children, but is unable to comply with government regulations and laws. The real victim of the contest.
While the film's scenes and characters are simple, its deep story and thinking are not.
First, there is drama in play. In the process of the hero's efforts to resolve the kidnapping crisis, through his conversations with colleagues, supervisors and the suspect, we learned that this operator with a strong sense of responsibility and justice (he refused to leave work before the crisis was resolved, and scolded the suspect several times) and inaction), is actually a police officer under judicial investigation for shooting a suspect without authorization during the operation. He received the police at the police center as a temporary job suspension for reflection. If his colleague gave false testimony for him that the suspect had resisted arrest, the police officer was forced to shoot, and he could be successfully accepted by the judge, and he could be reinstated the next day. In this sense, the police officer is also a sinner.
Second, there is sound outside the strings. In the more than an hour that the police officer was handling the case, the director designed three irrelevant alarms, a mindless person who could not tell the address or the situation, a social youth who was drinking and gang-fighting, and a young girl who was bored and asked for help while drunk and riding a bicycle. They justifiably call the police and use or even abuse public resources at will. Although the police officer is angry but helpless, he may also receive complaints from these idlers. At the same time, colleagues at the alarm center are also repeatedly emphasizing some correct but cold rules and regulations to the police officers, such as, "personal phone calls are not allowed on duty", "the deployment of patrol vehicles and police forces has nothing to do with the police center", "you don't have to continue to be responsible after get off work." The finished alarm can be forwarded to the operator on the next shift.” Such plot designs are not just for the protagonist’s gag, but have other deep meanings. Until the husband in the case cried and complained about his wife, he went to the police and the government. , "But you don't care about me"! From the police officer's investigation of the case, we learned that the husband had applied for custody of the children on several occasions, but because of his criminal record, he was disapproved according to the regulations (see, the indifferent "rule" again). Coincidentally, the police officer's violation of the law is also a helpless act when he realizes that the law will not be able to give criminals the punishment they deserve.
At this point, we gradually realize who is to blame for the tragedy! Of course, the director of the film is by no means an anarchist, and the real culprits are not the government and the police. The deep thinking reflected in the story is actually that in a civilized and orderly society, we constantly strengthen the system, management and order, but under the seemingly uniform and harmonious picture, individual misfortune and pain are often ignored. What the director wants to discuss may be, what kind of social management form can bring us more happiness, or where is the boundary between law and system, how to achieve a balance between collective and individual, order and freedom, jurisprudence and human feelings, and create a more Comprehensive, warmer harmony and happiness.
Finally, there are a few digressions. "The Sinner" is a Danish film. It is said that the national happiness there is very high, and happiness may not be verified, but the wealth of northern Europe is universally recognized. It is no accident that such a film was made in Denmark, "Cang Lin knows the etiquette, and knows the honor and disgrace." They have gone farther than us in thinking.
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