The film overturned the suspense film's practice of leaving the mystery to the end before revealing it. George Sluizer told the audience everything early on: who is the villain, what he did, and what else to do. In the rest of the time, the director turned his attention to the husband who lost his wife and began to explore his spiritual world. Compared with the pursuit of truth and the setting of suspense, the audiovisual language of the film is obviously more exciting: the cold, silent, and calm scenes are so indifferent to everything; there is also concise but extremely powerful music that rejects everything. People are thousands of miles away. The ending of the film is not surprising at all, it is such a simple ending that is "in reason". It seems that the protagonist in the film said "it can't be like this"-the truth is often so ridiculously simple
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The Vanishing evaluation action
2022-01-07 15:54
Extended Reading
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Colten 2022-04-21 09:02:55
A special kind of presence in a suspense thriller. Just for the horror at the end, please wait (wasted) an hour and a half
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Owen 2022-04-23 07:03:28
2010.11.13 Film Commune. The rhythm and details of a typical European film are all lurking under the water, and only a little turbulent at the end. There is still some incompatibility, whether it is the male protagonist or the murderer.
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Raymond Lemorne: You start with an idea in your head, and you take a step... then a second... Soon, you realize you're up to your neck in something intense, but that doesn't matter. You keep at it for the sheer pleasure of it. For the pure satisfaction it might bring you.
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Saskia Wagter: My nightmare. I had it again last night.
Rex Hofman: That you're inside a golden egg and you can't get out, and you float all alone through space forever.
Saskia Wagter: Yes, the loneliness is unbearable.
[pause]
Saskia Wagter: No. This time there was another golden egg flying through space. And if we were to collide, it'd all be over.