The rhythm of the BGM of the car chase scene is very good, and with the frequently shaking shots, the gray-yellow tone can very well fit into the plot. The camera often appears from the back of the character's neck, giving the audience the illusion of being closely behind the character, and switching the perspective is just right. For example, the camera switches from recalling a close-up in the car to Bourne standing alone in front of the car at a loss, but the background is Busy, ordinary night. And in the end, Byrne confessed everything to the girl. The camera shot from the back of a single person in the snow to the lights of the ten thousand houses in the Dandi house.
And the city shots when switching between cities are beautiful.
Five-star praise, too appetizing.
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