The indifferent city under Yang Dechang's lens has a sense of detachment that breaks the dimension of time and space. The desperate red light in the room is a prophecy of the disintegration of the family. The process of the protagonist's repeated washing of hands has the meaning of self-loathing. At the same time, the mechanical nature of life can be extracted and expressed. The complete denial of the life dimension is also the beginning of suicide. The little people sink into the ordinary and the vulgar, taking the inertia of life as their standard, but they are destroyed by their evil consequences. They become the embryos of terrorists, and the modern society, as the mother, is suspended above them, and the despair that hits the wall is continuously imported by accidental or inevitable channels through invisible steel pipes.
Yang Dechang's long-lens field of vision is the entire city. In the inter-causal space-time field, modernity's intrusion on people and the individual contradictions caused by the difference in the degree of intrusion are the fundamental narrative driving forces. Through the natural transformation of viewpoints and lenses, he shows every desperate connection, forming a complete logical closed loop in the narrative structure: policeman - female thief - woman - man... Repeatedly until the unhappy male protagonist He ended up shooting himself in the toilet, his blood dissolved in the water flowing behind him. Every connection with others eventually becomes a self-extending phantom limb, and the numb id is awakened by the pain of childbirth in society, and it is discovered that the imaginary connection is nothing but a protective mechanism spawned by self-despair. And the despairing ego born with it is the terrorist, the true heir of modernity.
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