In the film, the police are not "stopping drug crimes", but "rebuilding the drug trafficking order"; the camera used several bridges to shoot the family of the blackened Mo police, and finally hired a killer to break into the boss's private house, but the women and children were not left behind. These are all ideological fuzzifications that can be seen clearly, and this film can get out of the stinking quagmire of Hollywood and the United States at once, and it is not only closer to art, but also closer to real reality. Second, it's the consistent atmosphere-making, photography, and so on and so forth.
So this is a psychological thing, not to say that it is so difficult to make a good film. Many times it is an invisible force that controls your brain when you create, turning you into a machine that serves this force, rather than an individual with independent thinking ability. Villanueva's strength is that he always insists on his style and position, beyond all established technical or aesthetic norms, so he becomes the special one.
(Towel City)
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