Seeing that the discussion on the film Yaobai on the Internet is getting farther and farther away from the film itself, let me talk about some personal views on this film after a second review. It seems that I haven't seen anyone talking about this film from this angle. The first impression I saw after watching this film was that this film was completely contrary to the so-called realism or realism. This is mainly manifested in the overall space presented by the film. The geographical environment in which the film takes place actually has a magical wasteland or even steampunk temperament. With Suzhou River as the boundary, there is a hell of ruins on the other side, and the other side is a feasting concession. In fact, it is very magical and realistic, very similar to "Radiation" The setting of the series and "Bioshock Infinite" even has a taste of Kusturica. The director should have clearly grasped the uniqueness of this geographical location, so on the basis of reproducing the basic reality, the whole film set presents a very isolated magical texture, including some such as airships, telescopes, The props such as globes have a strong steampunk texture, but no one seems to question that these props are abrupt or inconsistent with historical facts, which is enough to clarify that the construction of the entire space is organic and self-contained. On this basis, photography constantly strengthens this alienation and magical texture through the lighting method with a strong sense of the stage and the relationship between the front and back scenes of the two sides of the strait. What is rare is that the space in the film serves the narrative to the greatest extent, and the concept and theme of the entire film are closely related to the construction of the space. This method of using a grand space to create a narrative motif is very uncommon in war films ( The best war movies in the past are often microscopic), which is also what I think is the most awesome part of this movie. It is no exaggeration to say that this set of things can definitely bring domestic genre films to a higher level in fantasy or sci-fi films. At the same time, I also think that discussing absolute truth under the premise of such an inherently unrealistic temperament is as ridiculous as questioning the distorted description of Yugoslavia's disintegration in "Underground". There is also such a detail, the end of the film is two empty mirrors, shooting the four-line warehouse after the battle in the plot language department, and then cut to the real four-line warehouse, you can see that the difference between the two is actually very big (for example bullet holes), and the crew can completely restore the reality of the four-line warehouse one-to-one, but why did the director not choose so? Why cut these two empty mirrors together to reveal their cowardice? In my opinion, this must be an announcement, an announcement of a transformation from a semi-fictional space to a real space, and an extension of the spirit and themes expressed in the film in reality.
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