The third kill

The Third Murder

The firm facts about mirror reflections and crossroads, and Hirokazu Ededa's eating, eating, eating, eating, slow-paced, strong dramatic performance, should watch twice, director's breakthrough masterpiece At the end, I immediately began to frown and ponder the meaning of the movie, ah! The fact is already in front of my eyes. I admire Director Ye Zhi’s transformation of genres and still haven’t changed his creative theme: family, blood, and getting along without thunderstorms, we can only talk about techniques and techniques. The elements of the story (that is, showing how poor and weak the writing ability is), but the story of Hirokazu Koreeda has never had a complete context. This film is the most structural of the works over the years, but Hirokazu Koreeda still hasn't lost his things and pursued the truth as the backbone of the court film, Wisdom films and reasoning films give a satisfying ending, which is the basis of mainstream commercial films. 【Rashomon】Provide the audience with a new viewing experience. The characters have their own opinions, and the audience is confused because of the suspense. Is the director lacking ability or the audience is stupid? Both are wrong! We are all people who are willing to be deceived The story of the third murder is a Rashomon.... But the element of Rashomon is that the character is not the plot, and the character is a tool to advance the plot, so what does it matter? The interaction of the three protagonists with each other is the main line of the plot; The relationship between the protagonists' respective families is a branch line that connects and fills the main line; the transformation of text into image language is the comparison of plot plots, camera angles, actors' performances and editing rhythm. This is the director's manipulation of the movie, the audience is manipulated in the theater, and the manipulation of emotions has nothing to do with the tonality of the movie. The degree of manipulation is naturally the degree of harmony between sound and picture. Switching to the protagonist of this film is a struggle between rationality and sensibility.... I personally think the best scheduling control in this film is: the meeting room of Fukuyama Masaharu and Yakusho Koji's rival play. The close-up of the face and the reflection of the glass are a real image and a virtual image; the simple but quite advanced techniques of facing each other with real images and equal status are perfectly demonstrated in the latter part. Again, this film is also full of explosive eating scenes, rather than discussing the influence of food in the history of film. How old, let's just say Hirokazu Kore-eda is the most incisive director xd

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