low to freezing
-Analysis of "Don't Enter the Unknown"
The movie "Never Enter" is the work of Swedish director Thomas Alfredson. If the shooting environment is consistent, this is a cold enough movie.
The boy Oscar has always been a marginal existence, bullied by his classmates, and has no friends. But he has always loved exploring homicides, and he also collects a series of newspapers after class. And the conflicting duality dragged him into a storm.
As a thriller, its innate sense is not strong and impactful, but a little bit of torture. Just like snowflakes cutting wrists, cold and blood collide with each other, how to successfully create a sense of coldness, I think, there are mainly the following points.
The first is the advancement of the rhythm. Everything is slow, with a sense of alienation. Even its explosion point is also designed. A strong contrast is used at the beginning, the little girl Ellie is innocent and romantic when getting along with Oscar, and cold and crisp when killing York in the back. This kind of impactful content is not explosive, but leaves a large gap for the audience to recall and taste. The same large area of white, too vast panorama, and small enough characters make the audience feel helpless. If we are in the world of ice and snow, what we feel is the piercing cold winds. At the same time, the plot design is not a consistent mode of thinking, but shows the image of vampires and murderers with pure children.
At the same time, the design of the lens also paved the way for the relationship and plot between the two. The use of glass, the two symmetrical rooms, and the gap between the two people next door are figuratively embodied by a thick wall. The use of glass in multiple places suggests different developments in the plot. It seems that through a layer of glass, there is a better sense of distance. Broken glass is a sign of a problem, and the reflection of the glass is the purpose of the old man's actions. Strict enough symmetry, the boy's desperate scream and the old man's desperate pouring of sulfuric acid, this is a completely dumb roar. Numerous Rubik's Cube close-ups are not only a token of love for two people, but also a kind of rotating choice. Turning a square means different options. This also implies that the boy has gone to a different life and chose a different way of living. The advancement of the relationship between the two is achieved through the angle and distance of the camera. At first, the two looked up and down, and they were condescending. After getting closer, the relationship between the two improved a little bit. These are all implemented using scheduling.
Finally, there is the design of the characters, in which the setting of the middle-aged couple is a mirror on the other side. The marriage between the two was boring, but because the girl bit the woman and was rescued by the man, what the couple faced was no longer trivial quarrels, but dragged and cowardly detoured in the face of fate. When the woman came home, she was bitten by the cat, and the man and woman were separated by a glass. Also when the boy came to the girl's house, the two were also separated by glass. It also seems to imply about love and death. The most distressing thing is probably that the woman finally chooses to let the doctor open the curtain, face the sun directly, and end her life. At the end of the film, the man came alone to the place where his wife died sobbing, and the boy chose to stay by Ellie's side like an old man. This seems to be a constant cycle of two clues on one platform.
This film seems to reflect not only vampires, but all kinds of monsters. It reflects the most terrifying things in the world, often the truth wrapped in innocence.
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