but the one who contradicts this is the killer,,, time and time again, Baba succeeded, and finally got away with impunity, and did not take the law at all Seriously. . . . Hahaha
I don’t want to talk about the plot, and I don’t want to talk about this ending,,, The story of the men at the end,,, who wins and who loses,,, just choose a partner, make a wrong step, for a lifetime, right,,,, hahaha
me I have withdrawn so many here, and I want to come back. What I want to say is the appearance of the killer. Why did the director brother give him such an appearance, his demeanor,,,,,
after reading it, I started to check ,, It turned out that the director was inspired by the image of the boss in a photo of an old brothel in 1890. To put it bluntly, the hairstyle and dress are the boss of the old brothel. . . . . . Fortunately, I also found a story about this brothel in 1890,,,, Japan where pornography services are fully open,,, haha turned out to be a Japanese boss,,,, From a brothel of a few people to a brothel of thousands, ,,, seeing those pictures of women in the room, I feel like my heart is really pulled down,,,, why,,, why would there be such a move,,,, is there nothing other than this,, , Although the brothel is in Japan,,,, the customers who come are from other countries,,,,,, and the director plays the killer here with a Japanese daughter-like hairstyle,,, old American cowboy clothes and horses Boots,,, oops,,, talk about the hidden meaning behind this. . .
The boss and this killer, 1, have a dark heart, 2, have a strong heart to bear, and don't know how to do bad things. 3. Still at liberty and at ease outside.
And we are talking about the fact that Christianity is on a par with sin, but there is no such awareness among the Japanese emperors.
In the end, the things described in the movie, the hearts of the five men, the deceased's greed for the sacrifices behind, and the repressed heart of the old policeman are
all roughly the same as the background story described in this old photo.
Reflect, comrades, reflect. . . . . .
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