Speaking of which, this film is considered absurd and reality. On the one hand, he has dark humor from time to time: For example, after the first revenge, the male protagonist drove halfway and fled, but found that the enemy’s youngest son was still lying in the car; while at the enemy’s house, he did not forget to drink water, pee, and spit on someone’s grave. On the one hand, certain details are tightly realistic: using the lessons of actual action to tell the audience that it is impossible to deal with it by yourself after being shot by a crossbow, even if you have to go to the hospital even if you have arrears and charges; After returning to my sister's house after the scene, she didn't even forget to turn off the faucet and sweep the broken glass.
I personally like this kind of introverted film narrative, relying on the lens and character performance to advance the story. The director who can complete his debut in this way of expression is worth looking forward to, and the quiet and restrained picture composition also appears exquisite. The fly in the ointment is that the core of the script "When is the time to repay the injustice" is too thin to support the director's ambition. The reason why the Italian new reality film is "minimalist" while still being memorable is that it shows more far-reaching and profound connotations, and the excavation of the theme of "revenge" in this film is limited to the superficial narrative " Click to end".
In addition to this kind of "line drawing" narrative, the general director will take the role as the center, and firmly bind the audience's sight to the protagonist, sharing sorrow and joy. However, the scenes of this film always have a kind of "distance" of dissociation and uncertainty. The audience can roughly clarify the logic of the characters' actions, but they cannot have an emotional resonance with the characters themselves. After reading it, neither Dwright nor the opponent he wanted revenge left a deep understanding.
The only two directors in the film focused on their roles, that is, the male lead’s good friends and Henry, who was kidnapped in the trunk by the male lead, because only the two of them gave a certain (not enough) time for the audience to get away from it. Predict the image in a few words. The rest of the time has not been immersed in that emotion, the camera has already pursued the next goal.
The use of the lens in the film is quite monotonous. The most typical one is probably the abused "pan"... But this director is really good at playing suspense, or the kind that can't come by hanging you for a long time. Dwright bit the torch under the stairs of his sister's house and crawled forward, and the scene where he found his enemy and waited for the enemy to come to his door in an empty house. The atmosphere and rhythm were really playful.
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