Under a little shadow, just like the lighting of Roger Deakins' photography, only a light edge is drawn on the dark face, the new protagonist who started to steal the scene in the middle is three-dimensional and convincing. In the first half, the atmosphere is rendered with great force, with surging drum beats, beating heart strings, and disturbing dog barks. The audience's mood is like an expanding balloon, which is vented under two or three quick cuts of gunshots. . Short, clean, neat, and quite the duel of a Western.
In the processing of the two secondary scenes in the middle, blue light and yellow light are used to express the change of the heroine's mood. During a quick interrogation in a police car, the police lights flashing at high speed on the rear window show the nervousness of the interrogated person. There is only one police car light in the front row that turns slowly in circles.
When entering the night attack, the magnificent deep blue sky and clouds, the thin red and yellow sunset lines, and only silhouetted figures create an amazing visual feast.
The theme of the film is slowly revealed under the restrained rhythm of Villeneuve, the inconspicuous dark lines, the clichéd but special character complex, the blank and the abrupt end, and only a little bit depicts the barbaric country of Mexico. The helplessness of the people underground.
View more about Sicario reviews
