In the pursuit of fugitives, there are others such as chiefs, criminologists, and snipers (no particular attention to positions). They hold different viewpoints and behave differently. Different modes represent different work interests, and it is the independence of each force, so there is trouble in cooperation. The director may be a more humane person. Although he recognizes the situation, he is not very conservative in the system he lives in, and he does not stubbornly slap on things related to routines or authority. The snipers and the "stupid" detectives around them are people who seek protection under the system and are willing to do things for the system without self-reflection. The criminology expert, like the director, had disagreements with the director at first, and then they reached a consensus after the fugitive's death, because she also paid more attention to independent ideas and did not live within the system or routine. She mentioned her unusual childhood, and this experience and feeling also gave her a deep understanding of the fugitive - he is not a bad person because of his conscience. In general, people within the system may be wronged and obliterated some good things because of the system's imprisonment and stability, and those people are trying to protect themselves. The director and the expert who think out of the system will really pull out the sparkle of human nature on the surface of things. They are the good people who truly respect human rights and despise political lies.
Next, let's talk about the dashing, kind and unruly fugitive. The fugitive's life experience is mentioned before and after in the film. It can be seen that the fugitive is not the kind of murderer who has lost his conscience, but may have been imprisoned by aggravating the wrongful sentence for some other reasons. It has been said in the mouth of the director here, and it can be seen that the director has done something outside his rights in order to protect the criminals. After being injured, the fugitive also mentioned that he confessed to the little boy, "I have only killed two people in my life, one hurt my mother, and the other hurt you (little boy)." The fugitive is treating the little boy with sincerity and kindness. He regards him as a friend, and allows him to fulfill his unfulfilled childhood wishes, respect the little boy, and have a heart-to-heart with him. Compared with those snipers and police officers, the fugitives seem to have a better understanding of what human rights are, respect and equality; so the little boy asked him again and again, "Will you shoot me? You're not bad, right?" , the fugitive smiled sincerely and said "hell, no!" At the end, when the little boy and the fugitive had an emotional snuggle, it was really touching.
The fugitive actually has childhood trauma, and the broken and unfortunate family of his childhood is mentioned in the film. So this also makes him love children more, and understands that he has to make a living on his own, and makes him hate domestic abuse of children more than ordinary people. That's why a fugitive in a black home throws a tantrum to punish (but doesn't really want to shoot) the black man who abused his grandson, who is more alert and vulnerable than the numb, and slumped when he hitchhiked to see a white woman spanking a child Actually it is implied. In fact, from another angle, the behavior in a black family can also be understood as the estrangement and helplessness of racial communication. Before, the fugitives got along well with the black family, played with the children, danced with the old woman, very gentle; When the outbreak broke out, understanding and tolerance were suddenly lost. Does this imply the estrangement, misunderstanding, and difficulties of communion between races in American society? To a certain extent, the fugitive regards the child as his childhood self. He once mentioned that "we are very similar" after communicating with the child. He really regards the child as his sustenance, his hope; he thought about using his love His dedication to make up for the childhood misfortune of a child like him, and to make up for the long-standing gap in his heart. This kind of human nature is genuine and well-founded, which is why I say this movie is not fake.
I love the last scene very much, which echoes the beginning; the fugitive lives on the right side of the picture, and on the left is the child's Halloween mask (which he helped the child achieve), he slowly closed his eyes, although fate was helpless, he sent a kind gift to him The child's money is slowly flying in the picture, he is lying on the grass, facing the sunshine bestowed by the sky, that hope brings a kind of heartbroken warmth. The little boy symbolizes the continuation and hope of his hope. The helicopter slowly ascends, and the slow motion gives the little boy a farewell expression, and then the little boy's helicopter gradually fades away and is dipped in the blue sky. That kind of beauty makes the whole film with a more realistic style become literary and formal, and poetic.
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