Irish director Lorcan Finnegan (Lorcan Finnegan)'s second feature film, fantasy thriller theme, was shortlisted for the Cannes Film Critics Week last year. This film is like a continuation of the style of the strange wave in Greece, using absurd methods to construct an isolated society and operating system, and at the same time formulating the rules of the game (the children can be released when they are raised). However, Fei Nagan is far from the ability to construct complex texts like Lansmos, which enhances the allegorical meaning of the story and extends the intriguing reality-critical intent.
Fei Nagan was too ambitious and bluntly pulled the content of a short film out of a 90-minute feature film. Although photography and fine art have a weird and harmonious aesthetic, they look like paintings by post-modern artists, but the core irony is cheap and simple: the house that young people dream of is the same, the married life of husband and wife is boring and boring, and the process of raising children is different. It is upsetting and irritating, and the fateful ending of parents being ruthlessly cast aside after raising their children and heading for self-burial.
These metaphors that can be seen at a glance are too superficial, and there seems to be a lack of coherent logic between these metaphorical plots, like a random frame built up by patchwork, which lacks vivid details to fill. Blindly repeating nightmarish daily life can only create a depressive atmosphere at best, but it does not necessarily trigger the audience's thinking. The lack of human character creation and boring dialogue make it difficult for the audience to find too much resonance from the characters, and they naturally gradually lose the interest and patience to watch, even though the two protagonists do their best to save this failed work.
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